SYNERGY Operations - Clyde Broadcast

This document:
SYNERGY
Operations
SYNERGY
OPERATIONS
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This document, which refers to Synergy Software Release V1.4, contains some basic operational
information and describes some of its key features.
Contents:
o SYNERGY SOFTWARE
o SCHEDULING WITH SYNERGY
o SYNERGY AUTOMATION FAILSAFE OPERATION
o DTX OPERATION
o MULTI-FADER CONTROL
o MORE ABOUT THE PLAYLIST
o MULTI-TASKING
o NETWORKING

SYNERGY SOFTWARE
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Synergy contains a number of software modules, each associated with a task in the ‘end to end’ broadcast
process.
This is shown diagrammatically below.
As standard, Synergy is supplied with Audacity recording and editing software. Other 3 rd Party Editors,
such as Adobe Audition, can be supplied at extra cost.
Synergy integrates Traffic and Billing Software from NatLog, and Logging Software from NCH.

SCHEDULING WITH SYNERGY
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The Playlist is a file which has been created in advance of broadcast, and is a list of audio items to be
played in sequence.
Playlists can either be made ‘on the fly’, by dragging and dropping selected audio from the Library into the
playlist screen, whilst in the OnAir mode, or created in advance.
Other than phone-in request or very specialised music shows, most programs will use playlists which have
been created in advance, using Synergy’s Scheduler Module.
This supports drag and drop selection of individual items to build a complete show, or allows Templates to
be created, which are Populated on a daily basis.
This process is described in detail in a separate document.
The Template contains place-holders for different types of music, and also for ad-breaks.
Currently, Synergy supports the importation of ad schedules which have been created in an external
program called NatLog. This software can be supplied as part of a Synergy system if purchased.
Alternative systems will be supported in the V2 software release, which will also support importation of
music logs which have been created in external packages.
In Synergy Release V1.4, music scheduling is handled by Synergy’s own Scheduling Tool, as described
elsewhere.
Note that Playlists may also include Notes to the presenter, as well as place-holders for manual events,
with estimated times e.g. for dedications, news-reads and other ‘live mic’ events, or for playing tracks
from CDs etc.
The V2 release will also support start on time events, and will manage these in automated playback
modes by fading the previous item into the start-on- time event.
Templates can be made for each hour, for each show, or for each day. Best compliance with music
scheduling rules is obtained by creating and appending successive hourly templates, then populating.
The process of creating templates and populating on a daily basis is common to most systems, and it is
normal practice for the station’s program controller to manually check each day’s populated playlists in
advance, and to correct any scheduling anomalies.
Note that Playlists can also contain NOTES to the presenter. These are created in the Scheduler, and
appear in the appropriate place in the On Air Playlist. A typical example of this might be: ‘After next song
open the telephone lines’, or ‘After the next song start the live interview with today’s guest’.

SYNERGY AUTOMATION FAILSAFE OPERATION
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Great care has been taken to ensure that Synergy runs very smoothly in unattended operation i.e. in automation.
1. Prior to going into an unattended (automation) mode, the last presenter loads the prepared playlist. This list
should be time stamped (i.e. created with exact start date and time) and be a single file with enough items in it to
play until the next user switches to manual or live assist mode again.
So, if unattended broadcast from 8pm to 8am is required, the last presenter simply loads the pre-made playlist (for
that particular day) prior to going home, and this will play without break until 8am the next morning, when the
breakfast presenter switches back to live assist and takes over.
Under such circumstances, unless there is a need to control externally generated news feeds, the system does not
require any time re-synchronisation and will happily play totally unattended.
2. The ‘overnight’ playlist is started manually in the usual way (i.e. opening a fader).
3. To let the system know we want to run the playlist in a secure unattended mode, the user must switch to DTX
mode (via the OnAir screen) using the main menu (e.g. by pressing PROGRAM-DTX and Shift – to avoid
accidental mis-operation). By going into the DTX mode, OnAir will:
a) write some info into the registry to make auto-resume possible;
b) put the playlist in DTX mode which will make it skip any manual items which may have accidentally been
placed or left in the playlist. If the list is short, and runs out of items to play, the system will automatically
invoke the ROSS mode – randomly selecting music items to continue playback without any break in
transmission. While in DTX mode OnAir can optionally restrict user control (e.g. disable cart stacks and
fader controls); and start a heartbeat mechanism with the mixer to monitor operation of OnAir
c) To drop out of DTX mode, to resume Live Assist (attended) operation, the next user needs to cancel the DTX
mode, again using a combination of control surface buttons.
d) After DTX mode is cancelled, normal control and playlist playback modes are restored.
Note: Going into DTX mode can also be used to make the MPU activate another Aux GPO to signal or control external
equipment.
HEARTBEAT MECHANISM
This is effectively a resettable timer running on Synergy’s MPU. When it times out, the MPU activates one of the AUX-
GPO's to effectively 'press' the reset button on the PC. (GPO is a General Purpose Output – a software controlled relay
contact).
The heartbeat mechanism is started upon switching into DTX mode in OnAir. The software sends a message to the
MPU to setup the heartbeat timer with a specified timeout in seconds.
As long as DTX mode is active, OnAir regularly sends 'ping' messages to the MPU which resets the timer with each
received ping message.
In case of unexpected termination of OnAir or a Windows OS crash, the Timer on the MPU will no longer be reset and
time out which results in the PC being automatically reset via the GPO.
This will also cancel the heartbeat timer on the MPU to avoid continuous time-outs and thus PC resets.
After the PC has rebooted and the OnAir program has been automatically started, the entry in the registry tells OnAir
that it was running in the DTX mode before, and it will automatically setup for DTX again and resume playlist
playback (at the correct time, not from the beginning).
If DTX mode is cancelled manually, the heartbeat mechanism is cancelled by OnAir.

DTX OPERATION
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DTX stands for Direct to Transmitter. It is a function which is totally unique to Synergy, and is only made
possible by the fact that the playout software and mixer are one and the same system.
The idea of DTX is to maximise the usefulness of Synergy, and will appeal to any organisation
who are looking for maximum return from their investment and are interested in minimising
both capital and running costs.
DTX is accessed via the OnAir mode, and requires a two-button initiation, to prevent inadvertent misoperation.
Password protection is also available.
Normally, when a studio is set to play in an automated mode, the appropriate fader on the mixer is
opened and the playout system set to play. It is important not to accidentally ‘knock’ the fader, as this will
affect the broadcast output.
Effectively, the studio is rendered inoperative.
The idea of Synergy’s DTX mode is to allow automated broadcast, WHILST SIMULTANEOUSLY using the
studio for production or scheduling applications.
When DTX is activated, OnAir invokes a number of actions:
• The fader position of the playlist channel is stored, meaning that even if the fader is fully closed,
broadcast output is not affected
• The ‘bus-routing’ of Synergy’s mixer section is automatically controlled such that:
� Playlist channels are de-routed from the REC bus, but stay on the PGM bus
� All other channels are de-routed from the PGM bus, and routed to the REC bus
� The current playlist is ‘locked’ i.e. no changes can be made – item movement,
deletion or insertion
The monitor section allows switching between PGM and REC buses, and through use of the mixer’s source
assignment, access to all other sources is available.
Synergy’s Record, Edit, Rip, Schedule and Production modules may be opened, and ‘background’
production activities undertaken with total confidence that the PGM output, the station’s broadcast signal,
cannot be interrupted.

MULTI-FADER CONTROL
Synergy has four faders associated with playback of audio files stored on its PC.
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Two are associated with PLAYLISTS, which can either be created in advance, and ‘loaded’ prior to broadcast,
or made ‘on the fly’.
The Playlist faders can be thought of as each controlling a CD player, with sequential tracks played on
alternate faders, allowing cross-fades, in the traditional manner. Ads can be incorporated into the list, and
played in the same way.
The other two faders are associated with CART STACKS. These are direct equivalents to the old-fashioned
NAB Cart Players, which revolutionised radio presentation and allowed instant start playback of pre-cued
audio, generally short items such as jingles, stings and stabs, and in many cases, ‘stacks’ of carts were used
to play back commercials, with the secondary cue of one cart triggering the start of the next item and so on.
The ‘carts’ themselves were tape loops, which once played automatically ‘re-cued’ to the start, ready to play
again.
Synergy has two Cart-Stacks, each controlled by a separate fader. Each stack has six ‘slots’ and there are
three operating modes, allowing touch or fader control, with and without auto-linking between carts.
Cart slots can be ‘loaded’ individually – using ‘drag’n drop’ from the Library, or a page’ at a time – each page
being a block of 6 carts. Each presenter can create their own pages, for ease of loading.
Up until the recent advent of PCs for broadcast use, a typical on air studio equipment line up would include 2
or 3 CD players, for music, a pair of Cart Stack Players for commercials, and a further pair of Cart Stacks for
playback of jingles and idents etc.
Each source would feed a dedicated fader, with the ability to have either fader or button start/stop and
individual pre-fade – of course with total control of levels via the faders on the mixer.
Most high-end computerised playout systems set out to emulate this operation, which gives the presenter
maximum control and creative potential. High-end software systems all have a MINIMUM of 3 faders to
control playback during live assist (presenter driven) operation, from a combination of playlist and cart
players.
The downside is that multi-channel sound cards are required, the most popular of which are from Digigram,
and these are very costly, particularly in ultimate systems with 4 fader playout AND a separate channel for
prefade. This requires 5 playback channels, with a record facility if the studio is also to be used for simple
recordings or production.
There are also several other ‘radio automation’ packages on the market, many of which purport to offer very
sophisticated facilities, at very low prices, and some are even available free of charge. A closer investigation
reveals that many such systems only play audio via a single sound card, even if they may be able to play
several files at the same time.
Control is usually by mouse, and even systems which have on-screen level control of individual playout
streams still have their master audio level controlled by a single fader on the mixer.

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Most high-end computerised playout systems set out to emulate this operation, which gives the presenter
maximum control and creative potential. High-end software systems all have a MINIMUM of 3 faders to
control playback during live assist (presenter driven) operation, from a combination of playlist and cart
players.
The downside is that multi-channel sound cards are required, the most popular of which are from
Digigram, and these are very costly, particularly in ultimate systems with 4 fader playout AND a separate
channel for prefade. This requires 5 playback channels, with a record facility if the studio is also to be
used for simple recordings or production.
There are also several other ‘radio automation’ packages on the market, many of which purport to offer
very sophisticated facilities, at very low prices, and some are even available free of charge.
A closer investigation reveals that many such systems only play audio via a single sound card, even if they
may be able to play several files at the same time.
Control is usually by mouse, and even systems which have on-screen level control of individual playout
streams still have their master audio level controlled by a single fader on the mixer.
Starting and stopping multiple events on-screen in quick succession is hardly very user-friendly –imagine
trying to drive a car using a mouse to steer and change gear! The mixer’s faders and buttons are the
presenter’s equivalent to the driver’s gear stick and steering wheel. This of course will not be a problem
when playing in automation – as under such circumstances there is nobody to operate faders anyway.
However, to have each and every music crossfade pre-determined, and the level of each sound effect,
jingle, commercial, bed and ident FIXED relative to each other, is clearly a significant creative limitation
for any aspiring presenter.
Such systems are effectively glorified WinAmp players or i-Tune schedulers, and are not really suitable for
serious live assist operation.
Since for most stations, it is their presenters who generate strong audiences, it is the live
assist (presenter operated) programs which will generate maximum advertising revenue, and
hence equipment selection should be focussed on ensuring adequate live assist facilities.
The use of automation software in live assist tends to encourage the presenter to start playing from CD’s
and other sources where he/she DOES have control, and this detracts from carefully constructed playlists
and formatting.
This hopefully explains why at one end of the scale some companies charge thousands of dollars for their
hardware, plus ongoing software licence fees, whilst at the other end there are systems costing only a few
hundred dollars, if that!
It is also important to understand that even having spent such a lot of money, you will still only have very
basic interface to the mixer, certainly nowhere near as sophisticated and user-friendly as with Synergy.
Ask any presenter who has used a high-end system how often they make a telrec recording, and the
answer will be a unanimous ‘not on your life – I tried it once and screwed up!’
Synergy makes complex tasks like this absolute child’s play – meaning that you get better value from your
presenters and allowing them to make more interesting radio.

MORE ABOUT THE PLAYLIST
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Playlists are loaded in the On Air module. In V1.4 the Playlist is a file which has been created in advance, and
is a list of audio items to be played in sequence.
The audio is started either by fader or button control, and in Live Assist mode i.e. presenter-operated, it is
common practice to use two faders, allowing manual cross-fades between successive items.
The main content in a Playlist is audio which resides in Synergy’s Library. This can be a dedicated server if
required.
The audio will be a mixture of music, jingles, ads, pre-recorded news items and completely pre-recorded
programs. The duration of each of these items is known.
The Playlist can also contain LIVE MIC events. These are instructions to the presenter to speak, for example
‘Read the News’, ‘Read a travel update’, ‘Interview studio guest’, and so on. These will have estimated
durations, with times entered into the playlist as it is being constructed in the Scheduler module. This gives
the presenter an indication of how long they should be speaking for before playing the next item in the
Playlist.
As mentioned earlier, the Playlist may also contain Notes or Reminders to the presenter. There are no times
associated with these, just text with the appropriate message.
MULTI-TASKING
Due to the way in which SYNERGY’s software has been written, it is possible to undertake more than one task
at the same time, on the same workstation. For example, whilst a segue or pre-recorded item is being
broadcast, it is possible to use the same SYNERGY workstation to record and edit a telephone interview, or to
download new music, or to create a schedule for later broadcast.
We refer to this as multi-tasking, and it is unique to SYNERGY.
This offers fantastic value – one studio effectively doing the work of two, with savings in real-estate, acoustic
treatment, installation and maintenance, and operational manpower.
NETWORKING
In multi-studio stations it is possible to create a Synergy network, where several systems may share audio.
This is best achieved by connecting the Synergy workstations (PCs) in a client-server configuration, with a
dedicated file server to hold all audio. Traditional PC/networking rules apply, offering a variety of
redundancy/back-up options.
Special Synergy Back-up software is available. It is also possible to run all Synergy software modules, with the
exception of On Air, on standard Windows XP PCs, for editing, scheduling and production applications e.g. for
creating a newsroom or specific music or traffic scheduling workstations.