Eela Audio CAPS2 brochure - fra www.interstage.dk

1 HARDWARE AND SOFTWARE RADIO AUTOMATION SYSTEM CAPS II..................................................5
1.1 FEATURES OF THE MAIN COMPONENTS........................................................................................................................5
2 TYPICAL WORKSTATION FUNCTIONALITY....................................................................................................7
3 PRODUCT STRUCTURE OF A TYPICAL WORKSTATION..............................................................................8
4 TYPICAL WORKSTATIONS AND MEDIA DATABASE...................................................................................10
4.1 AUDIO AND TEXT EDITING WORKSTATION (NCR) ................................................................................................10
4.2 PLANNING AND SCHEDULE EDITING WORKSTATION (PLAN DJIN)...........................................................................10
4.3 MUSICAL SCHEDULE GENERATION AND JINGLE ROTATION WORKSTATION (MAG)..................................................10
4.4 ON-AIR WORKSTATION (DJIN)............................................................................................................................10
4.5 RETRANSMISSION WORKSTATION (DJIN 777)......................................................................................................10
4.6 MULTICHANNEL INSERT WORKSTATION (INS DJIN) .............................................................................................11
4.7 CART MACHINE WORKSTATION (CART DJIN).....................................................................................................11
4.8 MODERATOR WORKSTATION (TXT READ)..........................................................................................................11
4.9 LOGGER WORKSTATION (LOG)....................................................................................................................................11
4.10 MEDIA DATABASE (MDB) .......................................................................................................................................12
5 BOX PRODUCTS.............................................................................................................................................13
5.1 RADIO STATIONS CLASSIFICATION...........................................................................................................13
5.2 AUTO RETRANSMISSION (DJIN 777)...........................................................................................................13
5.3 SMALL RETRANSMISSION RADIO STATION (DJIN 777+)....................................................................13
5.4 SMALL MUSICAL RADIO STATION.............................................................................................................14
5.5 SMALL MUSICAL AND INFORMATIONAL RADIO STATION.................................................................14
5.6 LOGGER..................................................................................................................................................14
5.7 RADIO STATION INDIVIDUAL PROJECT BASED ON WORKSTATIONS...............................................15
SOFTWARE........................................................................................................................................................16
REMOTE CONTROL...........................................................................................................................................16
DIGITAL AUDIO CARDS.....................................................................................................................................16
WORKSTATIONS...........................................................................................................................................................17
RECOMMENDED CARDS..............................................................................................................................................17
6 SYSTEM FUNCTIONS......................................................................................................................................18
6.1 BASE PLATFORM ..................................................................................................................................................18
6.2 DOUBLE PLAYER (A–B PLAYER)...........................................................................................................................18
6.3 MULTICHANNEL PLAYER (X PLAYER) ...................................................................................................................18
6.4 BLOCK PLAYER.....................................................................................................................................................18
6.5 RETRANSMISSION PLAYER....................................................................................................................................19
6.6 GUARD PLAYER....................................................................................................................................................19
6.7 AUDIO PATTERN RECOGNITION MODULE..............................................................................................................19
6.8 RETRANSMISSION SWITCHER MODULE.................................................................................................................19
6.9 EXTENDED SWITCHER MODULE (ADDITIONAL INPUT)............................................................................................19
6.10 JINGLE MACHINE PLAYER .....................................................................................................................................19
6.11 FAST JINGLES PLAYER .........................................................................................................................................19
6.12 REPORT PLAYER ..................................................................................................................................................19
6.13 INSERT PLAYER ....................................................................................................................................................19
6.14 SCHEDULE MODULE .............................................................................................................................................20
6.15 SCHEDULE SKELETON WIZARD (MASTER) MODULE..............................................................................................20
6.16 TRACK MARKING AND NORMALIZATION MODULE ..................................................................................................20
6.17 START POINT SEEK MODULE................................................................................................................................20
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Telefon 3946 0000, fax 3946 0040
www.interstage.dk
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3

4
6.18 MODULE FOR RECORDING VOICE TRACKS IN SCHEDULES.....................................................................................20
6.19 SCHEDULE & PLAYER CROSSFADE EDIT MODULE.................................................................................................20
6.20 MODULE FOR EXPORT INFORMATION ABOUT PLAYER STATUS INTO XML ..............................................................21
6.21 GAP FILLER MODULE ............................................................................................................................................21
6.22 MODULE FOR DATA RESERVATION ON A LOCAL HDD............................................................................................21
6.23 SCHEDULE MERGING MODULE (MERGING SCHEDULE AUDIO ITEMS INTO AUDIO FILES)...........................................21
6.24 SCHEDULE IMPORT MODULE (USED THE 3RD PARTY APPLICATIONS) .....................................................................21
6.25 FILES MODULE ......................................................................................................................................................21
6.26 F-CATEGORIES MODULE .......................................................................................................................................21
6.27 MDB MODULE.......................................................................................................................................................22
6.28 EXTERNAL DB MODULE (ADAPTABLE TO A CONCRETE DB) ......................................................................................22
6.29 ON-AIR LOG REPORT (GENERATION) MODULE .....................................................................................................22
6.30 MULTICHANNEL AUDIO EDITOR AND TEXT EDITOR ................................................................................................22
6.31 “FRAGMENTS BUFFER” MODULE............................................................................................................................22
6.32 REPORTER TEXT AND SUBJECT MAKEUP MODULE – “REPORTAGE”......................................................................22
6.33 PLUG-INS INTERFACE MODULE..............................................................................................................................22
6.34 DISTRIBUTED DATABASE AGENT (FOR EXCHANGING MDB CONTENTS BELONGING TO DIFFERENT RADIO STATIONS)
22
6.35 SCHEDULE MDB AGENT .......................................................................................................................................23
6.36 MDB IMPORT APPLICATION...................................................................................................................................23
6.37 MUSICAL SCHEDULE GENERATION AND JINGLES ROTATION APPLICATION MAG ...................................................23
6.38 MODULE TO RECEIVE AND FILTER THE INTERNET NEWS.......................................................................................23
6.39 CD GRABBER........................................................................................................................................................23
6.40 ON-AIR LOGGER ...................................................................................................................................................23
7 HARDWARE ...................................................................................................................................................24
7.1 PC EQUIPMENT REQUIREMENTS...........................................................................................................................24
7.2 DIGITAL AUDIO CARDS ..........................................................................................................................................24
7.2.1 Antex..............................................................................................................................................................24
7.2.2 Digigram ........................................................................................................................................................24
7.2.3 Echo Audio ....................................................................................................................................................25
7.2.4 M-Audio (MidiMan) .......................................................................................................................................25
7.2.5 RME...............................................................................................................................................................25
7.2.6 Lynx ...............................................................................................................................................................25
7.2.7 Marian............................................................................................................................................................25
7.2.8 Creative Labs ................................................................................................................................................25
7.3 REMOTE CONTROL................................................................................................................................................25
7.3.1 The Broadcasting Station Control Center ..................................................................................................26
7.3.2 The Editing Station Control Center..............................................................................................................27
8 SYSTEM INTEGRATION ...................................................................................................................................................28
8.2 PRODUCTION BLOCK BASED ON THE EELA AUDIO S130 MIXING CONSOLE........................................................29
8.3 ON-AIR BLOCK ON THE BASE OF THE SBM90 MIXING CONSOLE ...........................................................................32
8.4 ON-AIR BLOCK BASED ON THE S130 MIXING CONSOLE........................................................................................35
9 TYPICAL WORKSTATION SCREENSHOTS....................................................................................................38

1 Hardware and Software Radio Automation
System CAPS II
CAPS II is a modular radio automation system based on both hardware and software components that allow you to carry out all stages of the radio production
and broadcasting process. The structure permits you to use a great variety of modules and adapts easily to customer technology without creating a redundancy of
functions but, instead, allowing you to create a configuration that helps optimize the price. The system is like a set of building blocks that make it easy to build any
combination of individual radio automation systems according to the customer’s requirements.
The flexible technology for importing data from external applications allows you to use this system with other automation modules, such as Selector, Power
Gold, etc.
CAPS II includes the specialized distributed database (DDB) handling engine, which permits for the convenient allocation of materials and for fast searches.
DDB helps in building radio station networks with centralized schedule preparation facilities allowing for the easy exchange of data.
CAPS II allows you to build a branched network for the retransmission of radio broadcasts using cheap, low-speed Internet channels, which noticeably reduce
the network support expenses that are associated with standard satellite communication channels.
The data reserve system basically increases system reliability and provides failsafe broadcasting even in the event of Internet or LAN breakdown.
A wide choice of remote control devices provides for easy and rational combination of hardware and software elements of the system.
CAPS II applications work on both Windows 2000 and Windows XP operating systems.
The data management system and distributed database are built with MS SQL Server 2000.
1.1 Features of the Main Components
Broadcasting net and daily skeletons
Forming a program thematic structure
Calculating weekly and monthly program recurrence
Calculating special dates, holidays, etc.
Automatic insertion of standard elements – jingles, background sounds, etc.
Automatically rotating jingles
Schedule
Schedule generation with the help of skeletons and/or import from other
systems
The block structure of the schedule allows for work with blocks of various
types – commercial, musical etc.
Schedule handling from any working place in the system
Notification of stop points, microphone inserts, information strings
Associating external control commands to schedule blocks and elements
Flexible adjustment of schedule outlook and displayed fields
Conflict indication inside the timeline field
Report generation for materials being broadcasted
Broadcasting according to a schedule
Fully automated broadcasting (no operator)
Manual broadcasting support
Time control points
Automated commercial delivery
Auto transition to the schedule for the next day
ID jingle replacement
Retransmission
Retransmission of a frame program
Inserting your own program at a defined time
Start/stop of inserts based on an audio pattern (jingle)
Monitoring frame signal presence and switching over to reserve in the event
of signal failure
Own program broadcasting mode
Support for a wide range of audio cards
Live program support
Starting a jingle with a single key of a button field
Two-level jingle storage system (categories)
Representation of Jingle categories in DB structure
Fast and easy configuration of button field mapping
Configuring of button field appearance and playback engine logic
Text programs (Subjects)
Moderator assist screen
Combining text materials with audio elements: text and audio in a single
schedule element
Newscast production technology
Administration
Assigning rights to user groups
Schedule access limitation depending upon material type
Access can be granted to DB in general or depending upon the category
and type of material
Prohibiting system settings changes
System reservation
Uninterrupted 2 day broadcasting in the event of file server or LAN
breakdown
Reserve data storage on the local HDD of an on-air workstation
Automatic creation of a schedule copy
Reserving system general settings
The limitation of network traffic while copying helps avoid LAN overload
Logging
Recording according to a schedule
Recording control via GPI and signal level
Multichannel recording
Separate recording of the left and right channels with individual settings
E-mail message during signal breakdown / recovery
Autorecording
High quality audio recording of material for later usage
Gap filler
Automatic schedule generation for filling unplanned gaps
Individual settings for various time intervals
Special algorithm for filling short gaps
Representation of settings in diagram form
Voice tracking
Recording a voice track over a crossfade from one audio item to another
Controlling the fade out of the first audio item and the fade in of the second
audio item from mixer faders, recording of fader movement
The ability to edit crossfades after the recording is done
Import
Importing the whole schedule or special blocks of a schedule from text files
generated by musical rotation applications (Selector, Power Gold) and
commercials systems (Meridian)
Special preprocessing software allowing import from files of any format (MS
Excel, XML etc)
Database (DB)
A DB created with MS SQL Server 2000 stores elements (audio items, texts)
in various types: commercials, music, news, programs, jingles, and their
metadata
One DB can support the storage of materials for several radio stations
Distribution of sound items by category with an unlimited number of
subcategories
Creation of individual attributes for each material type.
Acquisition of information from news agencies via standard protocols and
automated storage of received materials according to defined DB categories
Audio item search dependent on one or a number of conditions
Filtering by a chosen field
Importing information from other databases
Distributed Database (DDB)
Several database systems connected to each other via Internet or LAN may
be located great distances from each other
Audio item and data exchange between databases
Sending schedules from one radio station to another, providing remote
broadcasting and centralized schedule generation for regional radio stations
Remote broadcasting
The distributed database, reserve system reserve and automated
broadcasting features allow for the creation of a system of remote (or
5

distant) broadcasting, assuming that all of the production of materials for
regional radio stations is being done in a single center and that schedules
and data are being transmitted over the Internet automatically. With such a
system, a satellite channel is not necessary. The advantage of this system is
that it allows full control over the production of material on the side of main
radio station. It is possible to combine this method with a re-transmission
system that allows for the organization of autonomous (not serviced)
retransmitting stations. These stations can obtain all necessary data via the
Internet or direct modem communication.
Audio editing
Single channel and multichannel non-destructive editing
Easy-to-use interface oriented toward supporting most common operations
The ability to define hot keys for frequently used operations
Storage of material in project form for later recall and export of the whole or
part of a project to a sound file with compression MPEG 1 layer 2, 3,
regardless of the audio card being used
Text editing
Easy handling of text and audio combination (subject) support
Standard tools for text editing
Support for reading from a screen while recording material being prepared in
the form of a soundfile
Storing subjects to the DB and including them in a schedule
Automatic estimate of the time needed to read through the text
Acquisition of news. Compilation of newscasts
Running of commercial media-plans and the creation of a commercials
schedule
Generation of a music play list
Integration
The ability to add new and edit already existing DB elements
Schedule handling, the ability to add the new material to a schedule
The ability to edit schedule elements
Remote control
Supports RS232 commands, as well as GPI
Reception of 4 GPI signals via LPT port without additional hardware
Flexible RS232 protocol can be adjusted to communicate with various
pieces of equipment
External Remote control box has 8 GPI, 8 GPO and RS232 port (USB)
External button field can be embedded into a mixing console or studio basic
equipment
Input of fader control information
6

2 Typical Workstation Functionality
Base platform
TECHNOLOGICAL POSITION EDIT PLAN ON AIR UTILITIES
Multichannel player (X player)
Double player A-B
Block player
Retransmission player
Audio pattern recognition module
Retransmission switcher module
Fast jingle player
Jingle machine player
Report player
Insert player
Guard player
Schedule module
Skeleton wizard module
Audio item marking and normalizing module
Start point seek module
Crossfade schedule and player editing module
Player status export XML module
Voice track recording module
Gap filler module
Data reserve on local HDD module
Merging of schedule to sound files module
Schedule import from 3rd party module applications
Files module
F-Categories module
Fragments buffers module
MDB module
External DB module (adaptable to a concrete DB)
On-air log report module
Multichannel audio editor and text editor
Text and subject compilation module - "Reportage"
Plug-in interface module
MAG - Musical schedule generation and jingle-rotation
application
News import from Internet agent
Distributed database agent
Schedule MDB agent
MDB import application
FUNCTION
WORKING STATION
AUDIO & TEXT EDITING STATION
SCHEDULE EDITING STATION
MUSIC & JINGLES ROTATION
STATION
ON-AIR STATION
ON-AIR RETRANSMISSION STATION
CART ASSIST STATION
MULTICHANNEL INSERTER
STATION
PRESENTER SCREEN STATION
+ + + + + +
+
+
+
+ +
+ +
+
+ +
+ + +
+ +
+ +
+
opt + + + + +
+
+ +
+ + + + +
+ + + + +
+ + + +
+ +
opt opt opt opt
+ +
+ + +
+ + + +
opt opt opt opt
+ + + + + +
+ + +
L + L L L L L L
+
+
+
+ +
+
+ + + + +
LOGGER STATION
MEDIA DB EXCHANGE
+
DB-SCHEDULE SYNC
+
MEDIA DB IMPORT
+
NEWS LOADER
+
7

3 Product Structure of a Typical Workstation
8
SOFTWARE
PRODUCTION
AUDIO & TEXT EDITING STATION Audio, text and subject recording and editing
soft opt. SCHEDULE EDITING Schedule filling and editing
hard opt. LOGOS * Mixing console for EDITING STATION
PLANNING
SCHEDULE EDITING STATION Schedule editing
soft opt. SCHEDULE AND DATA IMPORT
Schedule and data importing from an external application:
SELECTOR, POWER GOLD, MERIDIAN, NEWS WIRE.
MUSIC & JINGLES ROTATION STATION **** Musical database, musical play list generation, jingle rotation
ON-AIR STATION Broadcasting — typical configuration for large and medium radio stations
AIRING
soft opt. VOICE TRACK RECORD Voice track recording in the schedule
hard opt. REMOTE CONTOLLER ** Control panel for PLAY OUT STATION embedded in the mixing console
Special ON-AIR RETRANSMISSION STATION Broadcasting — configuration for retransmission and small radio stations
Special CART ASSIST STATION Broadcasting — configuration for live-show support
Special MULTICHANNEL INSERTER STATION Broadcasting — inserting commercial blocks in the frame program (multichannel)
Special PRESENTER SCREEN STATION *** Presenter reading from monitor support
MEDIA DATABASE
MEDIA DB **** Data management system based on MDB
UTILITIES
LOGGER STATION On-air recording
DDB AGENT **** Distributed database agent
SCHEDULE MDB AGENT **** Schedule MDB agent
MDB IMPORT APPLICATION**** MDB import application
NEWS IMPORT AGENT FROM THE INTERNET **** News import agent from the Internet

HARDWARE
REMOTE CONTROL
8GPI - USB Unit 8 GPI/0 - USB
8GPI - RS232 Unit 8 GPI/0 - RS 232 (422)
REMOTE CONTROLLER Control panel PLAY OUT STATION embedded into the mixing console
LOGOS Mixing console for EDITING STATION
DIGITAL SOUND CARDS (recommended)
ANTEX LX-44 2 IN/2 OUT
DIGIGRAM PCX 822v2 1 IND/4 OUTD
DIGIGRAM PCX 924v2 / PCX 924-Mic 1 IN/1 OUT + AES I/O
DIGIGRAM VX 822 1 IN/4 OUT
DIGIGRAM VX 442 2 IN/2 OUT + AES I/O
DIGIGRAM VX 222 / VX 222-Mic 1 IN/1 OUT + AES I/O
DIGIGRAM LCM 220 1 IN/1 OUT
RME DIGI 96/8 PAD 1 IN/1 OUT, S-PDIF I/O, AES I/O
RME HDSP 9632 1 IN/1 OUT, S-PDIF I/O, ADAT I/O
LynxStudio AES16 16 IN AES/16 OUT AES
LynxStudio L22 1 IN/1 OUT, S-PDIF, AES
SUPPORT OPTIONS
SALE SUPPORT 5%
SYSTEM PROJECT
E.g., if a system consists of 7 workstations, then the system project cost will be 7% of the total cost of the software and options
INSTALLATION
Travelling expences: tickets, hotel costs and catering
daily allowance per person
TRAINING
Travelling expences: tickets, hotel costs and catering
daily allowance per person
SUPPORT AFTER SALE 20%
travelling expences: tickets, hotel *** costs and catering
WARRANTY free
price for services is determined as a percentage of software and options price
1,5% per workstation
9

4 Typical Workstations and Media Database
The radio production and broadcasting process involves various technological stages, such as production, planning, broadcasting, logging and archiving. Each
of these stages should be supported by a set of special functions. As a result, the software and hardware supporting each of these stages are different.
4.1 Audio and Text Editing Workstation (NCR)
This workstation provides tools for working with audio and text
materials and features:
q Recording of audio elements.
q Simple editing of audio elements (stereo), multi-track editing of
audio elements and mixing. Two modes of editing: using markers
or using fragments. Special features supporting the editing of
interviews, radio commentaries etc.
q Audio processing using external DirectX Plug-ins.
q Text handling. Import of text files in the embedded text editor, text
typing and editing. Speech audio element transcription.
q Subject handling (text-audio-text… sequence) and compilation of
newscasts.
q Free and easy access to audio elements, texts and subjects from the
file browser or DB browser.
q Exporting of finished materials to the file structure or DB.
This workstation is the basis for Journalist Workstation and allows for
the performance of all main tasks involved in producing material other than
complex multichannel musical recording.
4.1.1 Export to schedule option
The export to schedule option allows for the addition of prepared
reports to the on-air schedule from a journalist’s workstation. This helps to provide
for the easy flow of urgent materials: having finished a report, a journalist can easily
insert it directly to a schedule. This is particularly useful for by groups and information
radio stations in general.
4.2 Planning and Schedule Editing Workstation
(PLAN DJIN)
Workstation supports the planning of a radio station broadcasting net
on the basis of daily skeletons. Skeletons
can be constructed on the same workstation using hourly steps with blocks as
the basic bricks for building. An on-air schedule can be seen basically as a list
of all materials planned to go on air during a certain time interval. This list may
contain musical, commercial, news and thematic parts, each of which is the
result of the work of a dedicated department. Workstation unites all individual
schedules in a single on-air schedule. It is possible to edit the schedule,
schedule elements, crossfades, record voice tracks, etc.
The main workstation’s assignment is the creation of the on-air schedule
and performing pre-airing preparations.
4.2.1 Schedule import from external systems
option
This option allows for the importing of a schedule from external planning
systems in ASCII form. Radio stations very often use 3rd party applications like
Power Gold to create a music schedule or play list. The Power Gold application
supports the exporting of play lists to ASCII files. The schedule import option helps
import files of this kind into our system.
10
4.3 Musical Schedule Generation and Jingle
Rotation Workstation (MAG)
MAG is aimed at the automatic generation of musical play lists, including
jingles. It operates on a principle of music material rotation. Each musical element is
accompanied by a description “card” providing so-called “meta data” for each title in a
record library. All musical elements (songs) are being divided into categories. Within the
categories, songs form working virtual stacks that are rotated according to the hourly
net defined by the user. The user sets special parameters describing the selection
process for a song in a stack, defining necessary rotation rules and assigning priorities
to these rules. The application automatically generates play lists that can be edited.
4.4 On-Air Workstation (DJIN)
On-air workstation plays material according to a schedule in manual or
automated mode. It supports radio shows, thematic programs, news and
commercials and solves all tasks related to on-air material delivery. This
workstation is the main and most complex part of the CAPS II system.
Besides schedule and players, on-air workstation has software
modules – sources of material: DB browser, categories and a file system
browser.
The jingle-machine and block player modules handling sequences of
audio elements support live radio shows.
Additional features that help handle the schedule and it’s elements
are provided by software modules:
q Schedule elements editor (audio elements and subjects)
q Crossfade editor
q Start point fast definition module (according to the current on-air
situation)
4.4.1 Voice track recording option
Its function is the recording of audio (usually voice) fragments during
crossfades from one audio element to another. This option helps the DJ
record and edit a voice track in advance and save it in the schedule, with the
ability to perform editing at a later time. It can be used for the improvement
of sound quality or the smoothness of transition from one song to another (the
operator is allowed multiple attempts or takes) from one side, and brings direct
economical bonuses: voice tracks can be recorded for night time in advance
and broadcasting can be done in automated mode, meaning personnel are not
needed.
4.5 Retransmission Workstation (DJIN 777)
This workstation is designed for the retransmission of the frame
program (or program of the main radio station) and provides the ability to
insert your own material (e.g. local news, commercials, jingles etc).

Your own material can be inserted in the program manually or
automatically, according to:
q fixed time
q audio pattern in the frame program (opening/
closing jingle)
q DTMF signal in the frame program.
In the event that the frame program signal disappears (due to equipment
problems or a breakdown of communication) a special reserve player will
automatically be launched to fill the on air silence. The workstation may also have
some means (Jingle Machine) to support its own live-program mode. Workstation’s
configuration can feature additional block players that help to support the particular
needs of a station.
To support these tasks, a digital audio card with two inputs and
outputs is recommended: one physical output carries the frame signal with
your own material inserted, while the second physical output carries a prelisten
signal. The first input is connected to the frame signal source, and the
second can be used for connection to the studio.
4.6 Multichannel Insert Workstation (INS DJIN)
This workstation is designed to provide multichannel retransmission of
the frame program (or the program of the main radio station) with the
automatic substitution of parts (including ID jingles) under the control of GPI
signal. The typical application of such a workstation is the retransmission of
the frame program signal to several regions from a single radio center.
Every region is able to insert its own materials. For example, each regional
channel may have it’s own commercial schedule and, of course, its own set
of ID jingles.
GPI command for switching over may be generated by the main on-air
workstation.
4.7 Cart Machine Workstation
(CART DJIN)
Cart Machine supports live programs on radio, television and various
entertainment and sports programs. The main elements of this workstation
are the Jingle Machine and four block players, which help to compile audioelement
sequences.
The main task of this workstation is the provision of convenient
storage and speedy search among vast quantities of jingles, background
sounds and audio elements, and their delivery to the air for the embellishment
of live programs. This helps to provide “dense” audio for radio and television
programs. Jingles are stored in folders like cards displaced on a computer
screen, in a way that helps them to be identified easily. Folders can also be
displayed on a screen in this manner, facilitating easy search, load and
delivery to air. There are four players that help to manipulate jingles and
other audio elements, creating audio sequences and providing necessary
manual crossovers. Except for players, jingles can be started manually from
a “card” screen.
Main features of the Cart Machine workstation:
q 6 virtual channels of playback are used, which are down-mixed to 2
physical stereo outputs: Channels 1 through 5 are the four single
players and the Jingle Machine, They are mixed to physical output 1
and the second physical output is used for pre-listening
q Two stereo physical outputs
q One monitor configuration
q Remote control means:
• 4 players from a mixing console (both fader start and PFL by
4 channels)
• Jingle machine from a dedicated button field that can be also
used for loading audio elements into 4 players. Button field is
of our own, proprietary design. |It can be embedded into a
mixing console or used in a stand-alone block.
4.8 Moderator Workstation
(TXT READ)
The Moderator workstation is built on the basis of the Report player. The
report player window shows the sequence of Text-Audio-Text-… (subjects)
elements. Moderator can read text information from the screen and, at the
appropriate time, start playback of an audio item. This audio element can either
be a previously prepared audio item or a decorative element, like a jingle, etc.
Thus, moderator combines the tasks of reading text passages and starting audio
elements, which makes the program run smoother. Moderator has only one
button to start audio elements, so it does not require much time to decide which
button to press.
Report player can be loaded with subjects from schedule in the same
sequence as they appear in the schedule. Moderator is able to preview subject.
For audio elements, the first and last words of recorded material are indicated so
that moderator can observe the material easily. Moderator can monitor the
process of playing audio elements on the progress bar.
The moderator workstation operates as a supplement to a main on-air
workstation working with DB and having a schedule window. The Moderator
application can be installed either on a separate PC or on a PC with the main on-air
station application. In the latter case, a second monitor is needed.
We recommend that you use a special remote control unit (dedicated
button field) to manipulate the Moderator workstation.
4.9 Logger Workstation
(LOG)
The Logger workstation is used for automatic on-air recording of radio
programs from the external input of workstation to hard disk. One of the
typical applications is around-the-clock program recording with a high
compression ratio and storage for 31 days in accordance with the Law on
Mass Media (in the United States it is FCC, Federal Communications
Commission) regulations.
Another possible application is the high quality recording of particular
parts of a program that are going to be used again at another time.
The recording panel for the application contains an extensive set of
parameters. Turning recording on and off can be carried out according to a
schedule, to a certain signal level at the input, or by GPI command. The
System can use one stereo input as two independent mono inputs and can
record different programs with independent settings. It is possible to set
compression ration, shelf life and other parameters.
There is no limit on the number of recording modules present in the
system, so it is possible to organize multi channel recording of a signal.
11

4.10 Media Database
(MDB)
The Media Database is a special database working under the
control of the Microsoft SQL Server 2000. MDB stores descriptions of the
elements, a set of categories created by the user, attributes and other
information. MDB structure provides for the allocation of elements
according to categories. A single element may belong to several
categories. A lot of useful things can be done using the database: the
establishment of a hierarchical category structure with unlimited nesting
capacity, provision of a fast search engine with complex search conditions
(e.g. you can easily obtain a list of titles written by one author, of all news
items prepared by the same journalist), and much more.
The main task of the MDB is to provide for the well-ordered storage
of elements for easy and fast searches for material when it is needed. The
integrated administration facilities allow for the limitation of the rights of a
concrete user, allowing him to work only with a certain range of materials
and perform only a specifically defined range of actions.
One MDB can store materials for several radio stations, while a part
of the material can be configured so as to be common for all of the
stations. Several radio stations, broadcasting in different genres, can be
united by a single commercial department. This allows for the
centralization of commercial production facilities to save costs. When
several radio stations are working with one database, you can selectively
set up the rights of each radio station to work with proprietary material or
that produced outside. A large number of CAPS II modules use the
database for the support of a wide variety of individual tasks.
12

5 Box Products
5.1 Radio Stations Classification
Radio station’s technology of radio production and the nature of the
workflow it provides define the details of the new system and its depth of
automation. When planning to renovate or replace equipment, you have to
take into account the technology already in place at the radio station or that
will be the standard for new installations. If your radio station is going to
broadcast live programs, then you will need the means to provide liveprogram
support. Live on-air broadcasts require DJ live inserts for
informational and promotional messages, microphone inserts for moderators
and guests in the studio, the ability to broadcast telephone conversation on
air, etc. A radio automation system provides considerable cost savings for a
multi-program radio station. On-air workstation can be used for multichannel
inserting of commercials, news and other kinds broadcast material.
To make the correct choice with regard to working technology, you
have to define the class of your radio station and the type of program you
are going to broadcast. This will allow you to avoid redundancy and, at the
same time, to allow for the full installation of necessary technology for aiding
in production and maintaining the necessary reserve capabilities.
While classifying the radio station that you are going to start, you
should take into account these considerations:
q Daily broadcast volume and the amount of this that will involve
your own program. This parameter influences the volume of
reserves necessary, and the quantity and balance of various
workplaces in your radio- automation system.
q The correlation between various types of broadcast materials in
your program: music, news, commercials, pre-produced
programs. This helps to define the genre of a radio station and
influences the structure of the whole.
q Your own production facilities. Whether you consider these
necessary, and in what form, will depend upon the type of
material you want to produce: commercials, news, music playlists,
pre-produced theme programs, etc.
q Retransmission: Will you retransmit the frame program or not.
q Live programs: Are you going to provide live programs, and on
what scale.
q Quantity of channels broadcast.
5.2 Auto Retransmission
(DJIN 777)
This product is designed for network regional radio stations
retransmitting a frame program while including their own commercials,
news, etc. DJIN 777 consists of a single on-air workstation.
5.3 Small Retransmission Radio Station (DJIN
777+)
General characteristics of a small retransmission radio station:
Daily broadcast volume
Correlation of various types of material in
daily program
hours Up to 24
Music %
News %
Self-produced commercials % 10
Standard thematic programs %
Pre-produced programs %
Portion of the daily program devoted to live
programs
%
Moderator (DJ) talk %
Live programs, including standard themes
and news
%
Portion of daily programs devoted to the
% 90
frame program
Self-produced material as a part of daily
programs
Music, including jingles and background
items
Hours
News Hours
Commercials Hours 0,25
Thematic programs Hours
Pre-produced programs Hours
Number of program channels (frequencies) 1
The main task of the radio automation system here is retransmission
and the automatic inclusion of regional commercials.
Radio automation system consists of two workplaces:
q The on-air workstation
q The planning workstation: for the schedule preparation station,
plus the schedule and data import options.
Both computers are connected to the local network. The second
workstation may have a separate traffic manager application for the
generation of a commercial schedule and its export to an ASCII file.
The on-air workstation should have a corresponding digital audio
card, e.g. Digigram VX222. The planning workstation may use any sound
card for the pre-listening function.
13

5.4 Small Musical Radio Station
Daily broadcast volume
Correlation of various types of material in
daily program
Hours 18 + 6 auto
Music % 75
News % 7
Self-produced commercials % 10
Standard thematic programs % 8
Pre-produced programs %
Portion of the daily program devoted to
live programs
%
Moderator (DJ) talk % 15
Live programs, including standard
% 25
themes and news
Portion of daily programs devoted to the
frame program
Self-produced material as a part of daily
programs
Music, including jingles and background
items
14
Hours 0.2
News Hours 1.5
Commercials Hours 0.25
Thematic programs Hours 0.3
Pre-produced programs Hours
Number of program channels
(frequencies)
1
This is a typical musical radio station for medium-sized and large big
cities. It broadcasts its own programming 24-hours-a-day. The main part of
the content is provided by music of a particular format.
The radio automation system consists of 4 working places:
q On-air workstation
q Musical play-list generation workstation MAG
q Commercial-planning workstation: schedule preparation station
plus schedule and data import option.
q On-air recording workstation: Logger
5.5 Small Musical and Informational Radio Station
Daily broadcast volume
Correlation of various types of material in
daily programs
Hours
Music % 50
News % 30
Self-produced commercials % 10
Standard thematic programs % 5
Pre-produced programs % 5
Portion of the daily program devoted to live
programs
%
Moderator (DJ) talk % Up to 30%
Live programs, including standard themes % Up to 15%
and news
Portion of daily programs devoted to the
frame program
Self-produced material as a part of daily
programs
Music including jingles and background
items
Hours 0.2
News Hours Up to 4
Commercials Hours 0.25
Thematic programs Hours Up to 2
Pre-produced programs hours Up to 2
Number of program channels (frequencies)
Such radio station broadcasts its own program around the clock.
Music is used as a background element for on-air decoration. Information
content: news, city info (traffic, weather, sports), pre-produced thematic programs
etc.
q On-air workstation
q Music play-list generation workstation MAG
q Commercial-planning workstation: schedule preparation station
plus schedule and data import option.
q Journalist workstation (2 stations), audio and text editing station,
plus schedule editing option.
q On-air recording: logger
5.6 Logger
The Logger application is used for the automatic on-air recording of a
radio program from the external input of workstation to hard disk. One
typical application is round-the-clock program recording with high a
compression ratio and storage for 31 days in accordance with the Law of
Mass Media.
Another possible application is the high-quality recording of the
particular parts of the program that are going to be used at another time.
Logger is a separate workstation.

5.7 Radio Station Individual Project Based on
Workstations
It is possible to develop a specific project for any kind of radio station
by using different combination of various workstations.
If you want to start with a more-or-less simple radio station before
moving on to a more complex operation, you have to think of how and in
what proportion to increase the number of the various components – the
workstations. You can start with a small music radio station as a base and,
by adding one on-air workstation (as a hot reserve or for the training of
personnel), one more planning workstation (for program director control) and
several working places for sales agents and audio editing workstation for
producing your own programs, end up with a large music radio station with
advanced commercial services that provides dense, “packaged” radio
programming.
Regional radio stations can be expanded by increasing the number of
broadcast channels (frequencies). The Retransmission workstation can be
equipped with an additional channel to be broadcasted on a different
frequency. This radio station can have a single commercial department and
planning department. It would probably require an increase in workplaces for
advertising sales.
A music radio station that is carrying newscasts may be expanded via
an increase in the news portion of its broadcasts and the addition of special
thematic programs. This can be supported by an increase in the number of
workstations and, as a result, the creation of a newsroom with extended
production facilities.
A news radio station should not have a dedicated music department;
this department can be represented by a single employee working on an
editing workstation and the newsroom.
15

SOFTWARE
TRACK 2 AUDIO & TEXT EDITING STATION
Software option: SCHEDULE EDITING
Hardware option: TR BROADCASTING CONTROL CENTER
Hardware option:ТR 302
PLAN DJIN SCHEDULE EDITING STATION
Software option: SCHEDULE AND DATA IMPORT
MAG MUSIC & JINGLES ROTATION STATION
COMMERCIALS COMMERCIALS PLANNING STATION
1 client
2 – 5 clients
6 clients and more
DJIN ON-AIR STATION
Software option: VOICE TRACK RECORD
Hardware option: REMOTE CONTOLLER DJIN
DJIN 777 ON-AIR RETRANSMISSION STATION
CART DJIN CART ASSIST STATION
INS DJIN MULTICHANNEL INSERTER STATION
LOGGER PRESENTER SCREEN STATION
One channel
Each next channel
MDB MEDIA DATABASE
5 clients
6 -10 clients
11 – 20 clients
More 20 clients
MDB IMPORT
MDB NEWS LOADING
REMOTE CONTROL
8GPI - USB
16
8GPI - RS232
TR BROADCASTING CONTROL CENTER
TRACK 2 CONTROL CENTER
DIGITAL AUDIO CARDS
ANTEX LX-44 2 IN/2 OUT
DIGIGRAM PCX 822v2 1 IND/4 OUTD
DIGIGRAM PCX 924v2 / PCX 924-Mic 1 IN/1 OUT + AES I/O
DIGIGRAM VX 822 1 IN/4 OUT
DIGIGRAM VX 442 2 IN/2 OUT + AES I/O
DIGIGRAM VX 222 / VX 222-Mic 1 IN/1 OUT + AES I/O
DIGIGRAM LCM 220 1 IN/1 OUT
RME DIGI 96/8 PAD 1 IN/1 OUT, S-PDIF I/O, AES I/O
RME HDSP 9632 1 IN/1 OUT, S-PDIF I/O, ADAT I/O
Lynx Studio AES16 16 IN AES/16 OUT AES
Lynx Studio L22 1 IN/1 OUT, S-PDIF, AES
MARIAN MarcX 1 IN/1 OUT, S-PDIF I/O, ADAT I/O
Echo Audio Mia 1 IN/1 OUT, , midi
Echo Audio Gina 24 2 IN/8 OUT, S-PDIF I/O, ADAT I/O
Echo Audio Layla 8 IN/8 OUT, S-PDIF I/O, ADAT I/O
M-Audio Delta 44 4IN/4OUT
Sound Blaster
EURO
WORKSTATIONS
1 2 3 4 5 6 7 8

Purpose…………………………
Workstation and its
options
Sound card
Remote control
Purpose …………………………
Workstation and its
options
Sound card
Remote control
Purpose …………………………
Workstation and its
options
Sound card
Remote control
Purpose …………………………
Workstation and its
options
Sound card
Remote control
Purpose …………………………
Workstation and its
options
Sound card
Remote control
Purpose …………………………
Workstation and its
options
Sound card
Remote control
Purpose …………………………
Workstation and its
options
Sound card
Remote control
Purpose …………………………
Workstation and its
options
Sound card
Remote control
Purpose …………………………
Workstation and its
options
Sound card
Remote control
HUB SERVER
Used / not used
The number of MDB clients
1 2 3 4 5
WORKSTATIONS RECOMMENDED CARDS
TRACK 2 AUDIO & TEXT EDITING STATION DIGIGRAM VX 222 / RME DIGI 96/8
VX 222-Mic
PAD
PLAN DJIN SCHEDULE EDITING STATION DIGIGRAM PCX DIGIGRAM VX 222
924v2 / PCX 924-Mic / VX 222-Mic
MAG MUSIC & JINGLES ROTATION STATION DIGIGRAM PCX DIGIGRAM VX 222
924v2 / PCX 924-Mic / VX 222-Mic
DJIN ON-AIR STATION ANTEX LX-44 DIGIGRAM PCX
822v2
Lynx Studio L22 Marian
MarcX
EchoAudio Mia Blaster
EchoAudio Mia Blaster
Lynx Studio
AES16
DJIN 777 ON-AIR RETRANSMISSION STATION ANTEX LX-44 DIGIGRAM VX 222 Marian MarcX
CART DJIN CART ASSIST STATION ANTEX LX-44 DIGIGRAM PCX
822v2
Lynx Studio
AES16
INS DJIN MULTICHANNEL INSERTER STATION DIGIGRAM VX 222 Marian MarcX EchoAudio Mia
LOGGER PRESENTER SCREEN STATION M-Audio Delta 44 EchoAudio Gina
Marian
MarcX
RME
HDSP
9632
Blaster
RME
HDSP
9632
EchoAudio
Gina
17

6 System Functions
This section describes the various functions of the CAPS II radio automation system that can be described as elements or building blocks. They can be
combined together in such a way as to provide for all the needs of any customer. This also ensures that nothing unnecessary is included in the system, meaning that
the customer doesn’t end up paying for something he or she doesn’t need. Maintaining only those elements necessary will also prevent overloading of the user
interface.
When we refer to a “function”, we mean either an element of some application (e. g., player, in the on-air application) or
a separate application designed for carrying out of a specific task (e. g., the music play-list generation application MAG).
In some cases, we describe these functions as software module, or simply module. The control panel for a module may also be visible on the monitor screen.
Other modules do not have control panels and their parameters can be set through the system for setting general parameters.
Some applications have personal names, e.g. on-air application DJIN, musical play list generation application MAG etc.
6.1 Base Platform
The Base platform is not a particular individual system function. Base
platform represents a set of basic functions providing overall functionality for
the system as a whole. This includes the general system parameters setting,
audio playback system, pre-listening system, common modules of the user
interface, etc.
Modern radio broadcasting provides for the delivery of audio material
from the on-air computer of radio station to listeners, so audio is to be
played back at an on-air station. One of the main on-air workstation
concepts is a player. The player is a virtual device that plays back audio.
Our system provides several types of players, which differ according to their
functionality. Each individual module has its own destination and specific
features providing the implementation of a certain range of tasks. These
modules are usually included in on-air applications, but they can also be
installed at other working places.
6.2 Double Player (A–B Player)
This player can deliver a sequence of elements on-air as indicated in
a schedule
Player can be used in a system with one or two independent physical
outputs.
Player can use on one or two independent playback devices.
The Player window provides graphic information about the element
being played, about the next element and about its mode of operation.
A-B player can provide sequential playback of schedule elements via
one physical output. The operator defines the starting point for playback,
chooses the schedule element with which to start playback, and provides
the command to start operations. From here, the player defines the next
element to be played. The playback process considers previously produced
crossfades, schedule-block attributes and time-control points.
Player can be controlled by two signals from the mixing console:
“Fader start” and “PFL”. The presence of a second physical output allows for
the delivery of on-air material with a manual crossfade from one audio item
to another either by mixer faders or with a keyboard/mouse. Player provides
pre-listening facilities controlled either by “PFL” signal from a console or by a
keyboard/mouse.
Two auxiliary modes for double player are available. The first is single
element playback mode. Here, the operator launches each next audio
element manually (this can be helpful during live programming
embellishment when the sequence of audio elements is known beforehand
and operator has to define the starting time for each element). The second
is the manual choice mode for the next element. The operator has to choose
each successive element on his or her own.
Player can automatically pass over to the next day’s schedule, a
feature that allows you to use it for fully automated broadcasting. The “auto”
mode causes the player to define a start point in a schedule and start
playback, automatically filling non-planned gaps that may occur in order to
provide fully automated, uninterrupted material delivery.
Player fixes the time for the actual beginning of play in a report that
allows for the monitoring of schedule integrity.
Player allows for the schedule to be followed exactly, as materials
are played in strict accordance with it. The operator does not need to
interfere in the process. At the same time this approach requires much more
precise preparation for the broadcasting process. One of the features that
can help with this is the preliminary recording of voice tracks. Voice tracks
help to avoid on-air mistakes by the moderator and preserve the
atmosphere of live programming.
6.3 Multichannel Player
(X Player)
18
X player is the result of the development of double player. X player
can also deliver a sequence of elements on-air as indicated in a schedule,
although it features extended functionality.
Player can be used in a system with several physical outputs (up to
4).
The player window depicts a queue of elements with defined depth
(contrary to a double player, which shows only the currently playing and next
elements). It is possible to edit the queue of elements inside the player. It is
also possible to open crossfade editor and to add new elements that are not
listed in a schedule. It is possible to edit the crossfade of element being
played with the next element (double player does not allow for this). X player
features a new function: a search for the start point for every element being
loaded into queue. This mode can be supported effectively using a number
of buttons on a computer keyboard or by a dedicated remote control unit –
the external button field.
Another feature of this player is that it allows you to assign a certain
physical output to audio element. For example, it lets you play musical
elements via one output and voice elements via another. The signals for
these channels can be processed separately by FM processors with
different settings, providing better audio quality results in radio output. X
player can distribute audio elements automatically by physical outputs
according to their type (voice track, commercials, music, etc.) and to the DB
category to which they belong. It is possible to define this manually for a
certain audio element either beforehand, during schedule preparation or
element meta data description, or in the player itself before actual delivery
on air.
There are 3 modes of operation for X player, distinguished by the
degree of manual control provided by the operator: MANUAL, LIVE and
AUTO.
MANUAL mode assumes that the operator starts playback of every
audio element by him or herself. In LIVE mode, playback is performed
automatically, but can stop in special places of the schedule if this was
planned beforehand. The operator then has to launch playback manually.
The operator may then influence the playback process at any time, either by
starting the next audio element or by stopping that currently being played.
This is intended as the chief mode for X player. The AUTO mode provides a
full autonomous mode of operation. Broadcasting does not even stop at the
special points mentioned in a schedule. The operator can employ a nonplanned-gap
filler if necessary. The player can be controlled remotely by
"Fader Start" and "Cue" signals from the mixing console and from the
external button field. X player is mostly effective in the systems with a DB
and voice-track recording module.
6.4 Block Player
Block player can be used
for playing sequences of audio
elements (play-lists). Playback is
carried out via a single device,
taking into account crossfades
between elements. The play-list
represents a single block of the
schedule. All means of schedule
editing with regard to audio items
(crossfade, marking, normalizing, go to next, voice track recording) can be
applied to contents of the block player. Playlists can be loaded to the player
automatically from blocks of the schedule or manually by the operator. A
combined approach is also possible. In this case, the schedule should list
only obligatory material to be delivered on air while all other elements (audio
items, jingles, etc) can be loaded manually by the operator from a Media
DB, F-Categories, Jingle machine, Files and other windows. Player can be
controlled from a mixing console with the help of the “Fader start” and “PFL”
signals. Player can be set for automatic start at a specified time or it can
wait for a command from the operator. There are a large number of
parameters that define player behavior.
A system usually has a number of block players, each of which has its
own responsibilities.

6.5 Retransmission Player
The main difference between retransmission player and the other
players lies in the presence of an embedded switcher, which provides for
change-over from the retransmission signal (frame program) to the regional
signal (own program). This switching can be performed either manually
(from mouse/keyboard or GPI signal) or automatically (according to time or
a command from an audio-pattern recognition module). With the reception of
a command, the switcher initiates the playback of audio material loaded into
the player while simultaneously (or even earlier – depending upon the
settings) fading out of the retransmission signal. Thus, the system enters the
own-program delivery mode. Upon the completion of the loaded block
playback (or even earlier), the switcher starts fading in the retransmission
signal, bringing the system back to retransmission mode.
The blocks of the regional program are loaded to the player from the
regional schedule automatically in advance of their actual air time.
If a retransmission signal fails, the system launches the guard player,
containing a reserve block of audio items.
6.6 Guard Player
Guard player is a block player working under the control of the
retransmission switcher. Guard player provides on air delivery of reserve
material in the case of retransmission signal (frame program) failure.
6.7 Audio Pattern Recognition Module
This module is necessary for a retransmission radio station and
allows for the automatic insertion of regional blocks of commercials, news
and other elements. In auto mode, this module constantly scans the signal
of the frame station for the presence of a special preset audio-pattern-like
jingle. When the pattern is recognized, a command is sent to the
retransmission switcher to change over from the frame program to its own
insert, or back.
Patterns are prerecorded audio fragments inserted into the frame
signal at specified places. Jingles coming at the beginning and the end of a
commercial block are often used as patterns.
6.8 Retransmission Switcher Module
This module provides for the switching over from the retransmitted
(frame) program and own (regional) program. Switching can be performed
either manually (from the mouse/keyboard or GPI signal) or automatically
(according to a specified time or a command from the audio-patternrecognition
module).
6.9 Extended Switcher Module (Additional input)
Extended switcher differs from retransmission switcher in that it allows
you to change over to an additional signal source, e.g. an own-studio output
signal. Switching over can be performed either by audio pattern or at a set
time.
6.10 Jingle Machine Player
Jingle Machine player is used for the instant (one-key) start of a
necessary audio element. Audio elements are represented on a monitor
screen in the form of a spreadsheet. This allows for the easy location of the
necessary element among all others. The remote control of such a player
from an external button field is also intuitive and simple (the geometry of the
button field — the number of rows and columns — should fit into the outlook
of a jingle machine table). Any player element can be started by the press of
a button either on the computer keyboard or the external button field. This
player can play audio elements from Jingles categories.
The player is most often used in the following two ways.
In the first, the player is used as intended for airing various audio items:
audio effects, background sounds, etc. Most often, this is necessary when
preparing live broadcasts, interactive games, etc. The operator can prepare
the needed audio items in advance and place them on the buttons of the jingle
machine in the way that is most convenient for him or her. This can be done
not only from the broadcasting station but from any production workplace. This
player variation is included in practically all typical configurations of the CAPS
II®II DJin program.
The other method presupposes using the jingle machine as a data
source for a group of block players. Button field buttons can be used to
switch to another category. This makes it possible to organize a system for
rapid navigation over the collections of audio items prepared in advance. In
this case, clicking the jingle machine button in the button field simply selects
an audio item. It can then be added to the end of the block player play list by
clicking the corresponding button-field button, which allows a play list to be
prepared rapidly. In this version, the greatest efficiency is achieved when the
jingle machine is used with an external specialized button field that has both
the jingle machine control button and the block control buttons. Specialized
remote control devices manufactured by EELA can be used as these
external button fields. Another option is to use specialized computer
keyboards, the keys of which can be combined into buttons and have
commands assigned to them.
A typical configuration consisting of a jingle machine and block players is
called a cart machine.
6.11 Fast Jingles Player
The Fast jingles player is a development of the Jingle Machine player.
Its main function is to provide the broadcasting operator with a means of
playing a certain type of jingle on the fly. The player can play back a jingle from
a group of jingles by simply pressing a keyboard key or a button in the external
button field. The player has its own simple rotation algorithm to avoid repeating
jingles from the same group, even if the items are played back from several
workstations simultaneously. A group of items may be made up of the
contents of one of the categories of the F-Categories module or any category
of the MDB items.
Unlike the jingle machine player, the fast jingle player can play not
only jingles, but any type of MDB item.
The minimal version of the player does not have its own window. The
system administrator creates groups from his or her workplace and informs
the operator about the keys or button-field buttons assigned to these groups
by messages "Press 1 for a short jingle, 2 for a long jingle, 3 for a jingle
before news."
If necessary, a window can be added to the system to show groups of
items. The window's appearance and functionalities are virtually the same as
those of the jingle machine player. Several players of this type can exist
simultaneously in the system. In this way, items from different groups can be
played back through different physical outputs.
6.12 Report Player
Report player assists the moderator during on-air sessions. The
report player window shows a sequence of Text-Audio-Text-… (subjects)
elements. The moderator can read text information from the screen and, at
the appropriate time, start playback of the audio item. This audio element
can either be a previously prepared audio item or an embellishment
element, such as a jingle. Thus, the moderator combines the tasks of
reading text passages and starting of audio elements, which makes the
program run smoother. The moderator has only one button to start the audio
elements, so he or she does not need to think much about what button to
press. Of course, the system allows for the addition of more buttons if this is
needed, for example to stop or discard the next element, etc. The report
player can be loaded by subjects from the schedule in the same sequence
as they appear in the schedule. The moderator is able to preview the
subject. For audio elements, the first and last words of the recorded material
are indicated so that the moderator can easily observe the material. The
moderator can monitor the process of playing audio elements on the
progress bar.
6.13 Insert Player
This player is used at regional radio stations for the playback of
regional (own) programs or so-called “inserts” to the frame (main) program.
19

Insert player automatically replaces parts of the frame program with regional
content.
The insert player is a part of a regional on-air workstation and works
under the control of the main on-air station. The main on-air station
generates a special control signal (command) prior to the beginning of a part
of the frame program that can be replaced by regional content. This
command is fed to all regional stations. Upon receiving this command, the
insert player begins to play back loaded regional content.
Two types of audio elements of the frame program are usually
replaced: ID jingles and commercial or news blocks of regional importance.
The ID jingle is a short jingle providing information about the name of the
radio station and the broadcast frequency (e.g. “Radio GAGA 100 FM”). The
ID jingles of the main radio station should never be played at the regional
radio stations, because the regional stations may have different names
and/or broadcast frequencies. So the main station always sends a command
before the actual playing of the ID jingle, and the regional stations
automatically replace it with their own ID jingles.
Blocks replacement happens only if the regional insert player is
loaded with actual material.
The user can build up a system of several regional stations. A set of
insert players can be configured to work simultaneously: each of them with
their own regional schedule and an individual set of ID jingles. This provides
for the centralized production of radio programs with several regional
commercial and news services. The system makes it possible to generate
schedules for main and regional stations in the same environment. This
feature, together with automatic content replacement with smooth transitions
between frame and regional programs, provides regional broadcasting of
high quality. An additional argument for this approach is the total control
provided over the content of all regional stations from the main station and
the simple structure of the overall system, which does not require complex
equipment.
6.14 Schedule Module
This module is used for the representation of the schedule on a
monitor screen and provides schedule editing facilities. The schedule is
represented in the form of a list carrying information about the schedule
elements – blocks and their contents. The most important block and element
properties are shown graphically. It is possible to modify the view of the
schedule using marked columns to be displayed and their sequence and
changing the outlook of schedule elements. You can choose the type of
blocks being shown so, for the advertising department, for example, we can
show only blocks of commercials.
Hot keys are provided for the main operations. Any audio element can be
“pre-listened“. It is also possible to “pre-listen” a crossfade between two
elements. The element currently being played and the next one are marked
out during on-air delivery so that the schedule active position is the following
element that plays now. It is possible
to load the schedule for any date in this window for editing. If necessary, you
can also limit a list of functions granted to the user by the system
administrator. Typical configurations feature one or two schedule windows,
but it is possible to enlarge the number of schedule windows for special
applications. For example, the editor of a network radio station should be
able to preview the schedules of all regional radio stations in the network.
Schedules can be printed out using various skeletons of the report.
6.15 Schedule Skeleton Wizard (Master) Module
The skeleton master provides for the formation of the thematic broadcast
net and the optimization of the schedule- preparation process. Skeletons are
common, periodically repeated building blocks of the schedule. The first task to
be solved for a newly created radio station is that of defining of the volume and
thematic content of material to be broadcasted. In “skeleton master terminology”,
this can be described in a set of blocks of appropriate types, their lengths and onair
times. Skeleton master allows you to form the needed sequence of blocks that
will be automatically copied to any new schedule. If the radio station’s format
changes depending upon the day of the week, this can be taken into account
while creating a set of skeletons. Skeletons can be assigned to specific dates or
to cyclically repeated time frames. The skeletons system has a hierarchical
structure, so during schedule generation the system will automatically choose the
most appropriate skeleton for the date in question.
If your schedule features constant elements like jingles, background
sounds etc, it is sensible to mark them in skeletons and the schedule operator
will be saved from the routine tasks of adding these elements manual. It is
20
possible to set up a jingle rotation in a skeleton. During schedule generation,
the system will take one of the jingles accessible to the rotation and put it in the
appropriate place, so the operator will not need to rotate jingles manually.
The user interface for skeleton master is almost identical to the
schedule window interface, making it easier to learn it. Conflicts and errors
are marked graphically during the planning of the blocks net. It is possible to
work with skeletons from practically any workstation in a network that
includes the skeleton master module. The new schedule will be generated
according to the skeleton, independently of the workplace where it was
constructed.
6.16 Track Marking and Normalization Module
Module
This module prepares audio
items for the Media DB. The module
can automatically define a pause in
the beginning and in the end of an
audio element, set the start and
stop playback marks, estimate the
signal level and normalize it if this is
needed. This module saves the
operator from routine work on each
every audio item.
6.17 Start Point Seek
The start point seek
module defines the exact piece
of the audio element that will be
used as a start point during
playback. You can assign the
start point to any of the three
previously defined character
points of the audio element (INTRO) or search it by playing the element at a different
speed and in different directions. The search window shows the waveform of the
audio, which simplifies the process. It is possible to change the start point of the
audio element either from schedule or in a player. This function is often used by onair
operators when they need to change the INTRO duration of a musical element.
You can control the process either from a computer keyboard or from an
external button field.
6.18 Module for Recording Voice Tracks in
Schedules
Its responsibility is in
the recording of audio
(usually voice) fragments
during crossfades from one
audio element to another.
Maximum performance can be achieved using the special remote controller that
provides information about the dynamic positions of the two faders to the
workstation. One fader provides fade out of the first audio item, while the second
fader provides the fade in of the second audio item. The start of the second audio
item is initiated by the second fader start signal, so voice track recording is
reminiscent of the real on-air process. The software application will remember the
fader’s movements and, while on-air, it will imitate them, providing a feeling of a live
show. During crossfade rehearsal, the operator can switch on the recording process
and record a voiced section that will be played through the crossfade. This module
can be used without a special remote controller, but this implies some limitations. At
present, it is possible to control the start point of the next audio item and switch the
record function on and off. The schedule can be marked preliminary at the places
where voice track elements are needed. Afterwards, the voice tracks can be
recorded one after another.
6.19 Schedule & Player Crossfade Edit Module

This module allows you to create crossfades between neighboring
schedule elements, providing more dense and accurate broadcasting
without pauses between audio items. It can “glue” 2 or 3 neighboring audio
items that are located in the same or in neighboring blocks. The user
interface of this module is similar to the BCS editor, so a user who is familiar
with it will not need much time to get going. Crossfade editing can be done
either in a schedule window, from any workstation in the network, or inside
the play list of a block player, but only at an on-air workstation. The block
player can provide a crossfade of an already playing audio element with the
next one, while the schedule window allows for the crossfade of next
element after that being played.
6.20 Module for Export Information about Player
Status into XML
This software module provides some status information to the
external systems in XML format. This information refers to the currently
playing audio elements and those that are ready in the playback queue. Any
player in the system can provide this information, which can be stored in a
previously specified folder and updated dynamically according to the status
of a system. Files of the XML format hold the audio element name, duration,
author, etc. They can be used by external applications for various purposes,
eg. for the generation of an RDS text string or placing data on the radio
station’s web site.
6.21 Gap Filler Module
Gap (or unexpected and non-planned pause) filling technology is
necessary for radio stations with full or partial autonomous broadcasting.
When a non-planned gap occurs (due to a breakdown in communication
lines, planning errors, etc.) the gap filler module automatically prepares a
piece of schedule from the elements stored in the database. This audio
content will fill the gap until the system gets a valid audio element from the
schedule to play. There are different algorithms for filling long (minutes) and
short (seconds) gaps. These algorithms are developed in a way to provide
the smoothest possible fill in for the program failure. System administrator
can set up parameters for the gap filler, which can vary for different time
intervals. The administrator can assign special DB categories, filling
skeletons and other parameters. Special diagrams are provided to indicate
the effectiveness of the gap filler.
6.22 Module for Data Reservation on a Local HDD
This module solves two tasks: Providing uninterrupted broadcasting in
the case of LAN breakdown and the physical delivery of audio material to
the exact place where it should be played. The idea of this module is to
perform background copying of all of the audio elements used in
a schedule to the local hard disk of the on-air workstation. During playback,
the system checks if a copy of next audio element exists on a local HD. If it
exists, then it is used instead of the distant audio element. If the original
audio element is changed somehow, then the copy will be updated
automatically. Audio elements that are used as
a reserve are stored for 2 days, which helps to eliminate the frequent
copying of the same files. Thus, when the system is set up carefully, the
broadcast never happens from a network, as the network is being used only
for preliminary copying of files. Besides audio elements, the schedule itself
is also being copied. So, in the case of a network breakdown, the on-air
station has both the schedule and data on its local hard drive to provide at
least a day of broadcasting. After the re-establishment of the network
communication, the system will automatically synchronize schedules. The
usage of lower-bit-rate channels like slow Internet between the on-air
workstation and the production/planning workstation is possible due to a
Reserve module that can transfer all the needed data to the local hard disk
in advance. In special cases, it is possible to organize broadcasting with a
connection channel that does not provide real time throughput of material.
Assume that the material volume is not so high, like when we need to
transfer just 10 minutes of commercials per hour, and that the
communication channel provides a transfer rate of a half the playback rate
(64 Kbit/s). To transfer 10 minutes of audio, you will need 20 minute of real
time. But, if the schedule is prepared beforehand (one day in advance), all
the necessary files will be transferred safely to the on-air workstation before
the moment of actual delivery on air.
6.23 Schedule Merging Module (merging
schedule audio items into audio files)
This allows you to export all schedule content material (or some of it)
to standard format audio (sound) files. The resulting file can be created
much faster than it occurs in real time during on-air playback. All data like
block and audio item attributes, crossfades, etc., are taken into account
during this process.
As an example, you can merge a day of schedule material to 24 1hour
long sound files. It is also possible to store commercial/news elements
in the form of sound files. Each file will represent a prepared block of
commercials or news.
This module can be used in news and advertisement agencies and at
the center of network radio stations. Ready sound files can be transferred to
other radio stations where any automation system can provide their
playback on air. Thus it is possible to use our system of planning/
production at the center and any other play-out system at regional radio
stations.
6.24 Schedule Import Module (used the 3rd party
applications)
The schedule import module provides for the import of ASCII files with
a schedule prepared by a 3rd party application (like Power Gold or
Selector). The import module has a flexible settings system that allows you
to choose the necessary types of fields, types of blocks and other
parameters. The module can be configured for import from practically any
known ASCII file format that holds something similar to a schedule. In
special cases, we can provide pre-processor utility for preliminary
processing of an ASCII file before it can be imported into the system. In
practice, almost every big radio station using our system is importing a
schedule or parts of it from one or another external system.
6.25 Files Module
The files module window allows you to play back audio items
(elements), preview information and edit the descriptions of audio elements.
The user can access both the local hard disks of the workstation and of
network disks. The operator gets information about the sound file format and
duration of the audio item. Depending upon the file format, some additional
information can be accessed, such as text description, marking of an audio
item, etc. Information of this type can be viewed and edited and sorting by
the fields is possible. Frequently used folders can be put into Favorites for
fast access. Selected files can be added to the Media DB, schedule, players
and other system modules.
6.26 F-Categories Module
This is a simple way for organizing stored audio material. Audio
elements can be sorted by categories. Categories cannot be nested. A
category element can be edited in the same way as any other schedule
element. Category contents are synchronized at all workstations in the
network, so that changes made in one or another category at one
workstation are immediately visible at all other places. Category elements
can be assigned to buttons of the Jingle machine. It is possible to sort
elements being stored according to one of the fields and filter elements by a
set text string.
Categories are not associated with any kind of directories of a file
system. When an element is added to a category, the system remembers
the name of the original file. By default, the new file is copied to a special
shared directory so that it will be accessible from any workstation in the
network. Erasing an element from the category does not automatically mean
that the file is deleted. To delete files that are not listed in categories, you
have to use the Delete unused sound function .
Categories are used for the short-term or long-term storage of
material. The operator or moderator can place tracks that will be needed for
the air in a certain category beforehand (they can do this, for example, from
a planning workstation) so that there will be no need to search for them
when already on air. If an element is erased from a category by mistake, it
can be recovered easily, as the original file is not actually erased. In a
system with a Media DB, this window also has access to the Jingles
category in the database.
Elements from categories can be copied to other modules of the
system in the same manner as from the Files window. Category contents
can be reserved by the reserve system, just as schedule elements.
21

6.27 MDB Module
This is the main module for communicating with the Media Database
(MDB). All functions of DB access are supported in that window: preview,
search, sorting, filtering, adding, erasing of elements and categories, and
other operations. Besides this, the module also carries out some
administrative functions: the setting of database parameters, adding and
erasing radio stations, the recovery of elements being erased by mistake, and
some other specialized functions. The number of possible operations can be
limited by the administrative system of the CAPS II radio automation system.
You can print out the contents of any MDB category using the report skeleton.
Media database is a specialized database operating under Microsoft
SQL Server 2000. The database contains descriptions of items, a set of
categories and attributes created by the user, and other relevant
information. The database solves the problem of categorizing the items,
allowing an item belonging to several categories at the same time. Some of
these capabilities are as follows. It allows for a hierarchic category structure
with an unlimited number of nesting levels to be created. Also, items that
have the same value for a certain attribute can be filtered out. For example,
all songs by a certain artist or all news items prepared by the same reporter.
Items can be searched for using compound search conditions. This list of
database capabilities could go on, but those already enumerated should be
sufficient to give an idea about its advantages. The main task of the
database is to store items in order for rapid location of the needed material.
The built-in administration system makes it possible to limit the rights of an
individual user, allowing him or her to work only with the necessary materials
and perform only a predefined set of functions. The same database can
store materials from several radio stations, and all of them can share part of
the material. For example, the main offices of several radio stations that
have different broadcast content but share the same advertising section are
often located on the same premises.. This makes it possible to centralize
the commercial advertising preparation process and to avoid redundant
production for each radio station. When several radio stations share the
same database, user access rights to the station's own material and to the
material belonging to other stations can be configured separately. Many
CAPS II modules use a database to support a vast variety of individual
tasks.
6.28 External DB Module (adaptable to a concrete
DB)
This module provides access to the contents of the external database.
For example, if a system is using the Power Gold application for musical
rotation, you can have the ability to view the contents of the Power Gold
database in the window of the external DB module, assuming that it is
properly configured. The contents of the external database are divided by
categories and can be filtered . An audio element can be played via the prelistening
system and imported to our system for later use on air.
Generally, this module can be set up to display the contents of any
database with a structure that supports ODBC interface. Elements from that
database can be copied to any other system module in the same way as
from the Files window.
6.29 On-Air Log Report (Generation) Module
This module generates an ASCII file with information about audio
elements that had actually been played on air. The file stores information
about the time at which each item was played, player name, fader condition
22
and item details (file name). This file can be printed out using the report
skeletons form.
6.30 Multichannel Audio Editor and Text Editor
The editor is a separate application that can be installed on
workstations together with other applications of the system or as a stand-alone
application. It allows for the production of proprietary audio and text material for
later delivery on air and for refilling and/or editing of the MDB. The close
integration with the on-air application and the presence of common modules
facilitate easy learning of the system and simplify the handling of overall
operations. While working with the MDB, you have to take special care of the
administration system. You can limit a number of categories and functions
available to the operator in everyday work. This helps to differentiate strictly the
functions of every workstation in large systems, eliminating unauthorized
access to material from unwelcome places.
The application is oriented toward the easy implementation of
standard editing operations used on radio stations: recording, editing, level
control, external plug-in support (DirectX plug-ins). Editing can be performed
on one or more tracks, while recording can be done only on one track.
6.31 “Fragments Buffer” Module
The “Fragments buffer” module provides the means for the temporary
storage of pieces of audio and text in the editor application and actually works as
a specialized multi-level clipboard. It can be very useful when source material has
to be edited severely and cleaned from unneeded parts. In such cases, search
operations can take a lot of time.
This buffer preserves its contents after the restart of the application so that
it can be used for the “long term” storage of frequently used elements, such as
jingles and background music items.
6.32 Reporter Text and Subject Makeup Module –
“Reportage”
This module of the audio and text editor is used while preparing
material to go on air. This module provides preview of Text-Audio-Text…
chain (a subject) on a monitor screen in the same sequence as it will be
seen in the Report player at the on-air workstation. Audio elements can be
either previously prepared materials presenting a logical continuation of the
previous text part (e.g., a telephone interview) or program decoration
elements, such as jingles, background music items, etc. In this way, the
moderator unites the functions of the announcer and sound technician, who
usually takes care of on-air audio items. The moderator can easily start
audio elements by pressing a single button and reading text passages from
the monitor, which makes transitions from one piece of subject to another
smooth. If necessary, the moderator can have access to extended audio
element control functions like stop, skip, etc. Audio items are shown on a
monitor schematically, with indications of starting and ending text passages
for the moderator’s convenience. The moderator can monitor the process of
playing audio elements by a progress bar.
The module provides the means to edit audio elements and text, save
results in the MDB or a file, or insert them into a schedule.
6.33 Plug-ins Interface Module
The plug-ins interface module provides the possibility to use 3rd party
plug-ins supporting DirectX technology.
A selected fragment of audio track can be processed by a chosen plug-in or
a chain of plug-ins. This module allows to save and load presets. It has
several auxiliary modes: rehearsal mode, looped playback, and bypass.
6.34 Distributed Database Agent (for exchanging
MDB contents belonging to different radio
stations)
The distributed database is actually a system of several databases
connected with each other via the Internet, allowing them to exchange
information. Communication between the individual databases is controlled
by a special application, called DDB Agent. The agent allows radio stations
to be aware of materials that are stored on other radio stations. It is possible
to organize audio or text-content exchange in automated mode. Each radio
station defines a part of their material individually to be accessible to other
radio stations.
Assume a situation where a main radio station with its own MDB and
several regional radio stations with their own MDBs are united in a single
data conglomerate. Production studios can be located at the main radio
station facilities and produced materials can be delivered to the regional
radio stations automatically via the Internet channel. In this case, regional
radio stations can refuse to support their own production facilities, with the

exception of a minor volume of their own news production. These can
become available automatically at the main radio station.
In the simplest case, the DDB Agent can be used for automatic data
exchange between independent radio stations.
6.35 Schedule MDB Agent
The schedule MDB agent application provides for the synchronization
of the on-air schedule with the database. This allows you to take care of two
typical tasks. The first task concerns schedule make-up (or modification of
individual parts of on-air schedule) via external applications (eg., WEBapplications).
Such an approach may be used for the implementation of
interactive voting at a radio station’s web site. The results of voting can be
processed and used while modifying the schedule for the purpose of taking
into account the preference of listeners for certain titles. The second task
deals with schedule generation for regional stations. The schedule MDB
agent can be used in combination with the DDB agent for the preparation of
the regional schedule on the premises of the main station. The musical
editor at the main station can prepare schedules for a number of regional
stations at the same time, making he sure that each of the regional radio
stations gets the right schedule. This provides entirely autonomous
broadcasting at the regional radio station without the necessity of hiring
additional employees.
6.36 MDB Import Application
The MDB import application allows you to add new material
automatically to MDB from files, folders or external databases. There are
several methods of data import. In the simplest case, it allows you to add
files appearing in specified system folders. Every folder can be configured
as a source of a certain MDB category. Description data (or meta data) can
be taken from
a neighboring ASCII file residing in the same folder as a data file. The format
of this ASCII file can be configured. In another case, we can perform an
analysis of description information from specified folders in order to find out
the exact place where new data files and their descriptions can be found in
the system. It is possible to organize the synchronization of the musical
database with the external rotation system or the commercial database with
the external system for commercial schedule planning. Files can be
obtained from Internet sources (eg., using FTP access).
6.37 Musical Schedule Generation and Jingles
Rotation Application MAG
The separate MAG application is aimed at the automatic generation of
musical play lists, like popular applications such as Selector, Power Gold
and Music Master. Taking into account their broad orientation, these
applications are overloaded with functions and options that make the
everyday work of personnel difficult. Users often use no more than 20% of
their functionality.
As with these applications, our MAG uses a principle of the rotation of
musical material. Each musical element is accompanied with a description
“card” providing so-called “meta data” for every title in a record library. All
musical elements (songs) are divided into categories. Within the category
limits, songs form working virtual stacks that are rotated according to the
hourly net defined by the user. The user sets special parameters describing
the selection process of a song in a stack, defining the necessary rotation
rules and assigning priorities to these rules. The application automatically
generates a play list, which can be edited.
MAG includes several methods of musical-element-rotation control.
They can be divided into two large groups using the artistic characteristics of
songs and historical mathematical rules. The first group provides rotation
control according to artistic rules that were defined by the user: tempo, the
“texture” of musical material, mood, etc. The second group of rules is based
on the control over the time of the possible playing of music elements
relative to the time of its last usage.
MAG follows rules set by the user. These rules tell the system how to
interpret different artistic characteristics of the musical element or the time of
its last play on air.
The rules are very flexible. Each user can employ them according
to his or her individual expectations. Everything depends upon the
concrete format and goals of the radio station.
6.38 Module to Receive and
Filter the Internet News
The module is intended for the automatic collection, identification, and
addition of news information to the MDB from various sources. It allows the
material to be grouped by type and stored in the corresponding MDB
category. The SMTP and POP3 protocols are used to receive the news.
6.39 CD Grabber
categories.
6.40 On-Air Logger
This module is used to import
information from audio CDs into
files. During the copying process,
the signal can be normalized,
compression into MPEG
performed, gaps at the beginning
and the end of the track
removed, etc. The application
automatically accesses a CD
database on the Internet and
reads information from it about
track names, performers, and
the like. The imported
information can be automatically
added to the specified MDB
This module is used to record the signal from the workstation’s
external input to the hard disk automatically. A typical application is the
around-the-clock high-compression recording of broadcast material and its
subsequent 31-day storage for the content control purposes as required by
the Legislation Regarding Mass Media. Another common application is the
high-quality recording of broadcast fragments for subsequent playback or for
using the recorded material to prepare your own programs.
The recording panel of the application contains an extensive set of
parameters. Turning recording on/off can be initiated according to a
schedule, using a specific signal level at the input or by GPI command. The
system can use one stereo input as two independent mono inputs and can
record different programs with independent settings. It is possible to
determine the compression ration, shelf life and other parameters.
The number of recording modules present in the system is unlimited,
so it is possible to set up multichannel recording of the signal.
23

7 Hardware
24
This section deals with the hardware that carries out the functions of our software system. We consider the following:
q PC requirements: hardware, network, and operating system
q Digital audio cards
q Remote control
7.1 PC Equipment Requirements
The CAPS II radio automation system creates high reliability
requirements for computer hardware. In order to provide for the handling of
audio MPEG or PCM streams, you don’t need the most modern processor
or fastest RAM. But the hardware must provide continuous fail safe
functionality for the system in the course of long-term operation. We
recommend using equipment from well-known manufacturers that has
already proved its quality and reliability. We recommend performing tests on
this equipment in severe conditions during a long period to ensure
concordance with the declared characteristics.
Special attention is required when setting up the device drivers and
operating system parameters. Incorrect settings may lead to non-systematic
failures while on air.
On-air computers should use a multilayer reserve system:
uninterrupted power supplies, 2 or 3 power supplies in the case of one
computer, additional ventilation fans, a temperature and power-control
system, and a fan-speed indication system.
For the comfort and convenience of the on-air operator, we recommend
using 2 and 3 monitor configurations. This helps to provide the most necessary
information on monitors in an adequate and understandable format and with
eye-friendly density.
We recommend setting up on-air material and the system root
directory at a separate file server on the basis of RAID massive. Total
storage space can be calculated out of the needed on-air material volume
and audio bit rate.
General requirements for the PC:
q On-air station:
CPU: PIII and higher, RAM: minimal requirements for operating
system +256 MB, HDD: 128 MB + reserve system requirements
(=daily on-air material volume X number of days to be reserved).
q Planning station:
CPU: PIII and higher, RAM: minimal requirements for operating
system +128 MB, HDD: 128 MB
q Editing station:
CPU: PIII and higher, RAM: minimal requirements for operating
system +256 MB, HDD: 128 MB + locally stored audio material
volume.
q Logger:
CPU: PIII and higher, RAM: minimal requirements for operating
system +128 MB, HDD: 64 MB + space for storage of recorded
material during needed time frame.
q Insert:
CPU: PIII and higher, RAM: minimal requirements for operating
system +256 MB, HDD: 128 MB + reserve system requirements
(=daily on-air material volume X number of days to be reserved).
Requirements for the components of the local network can be
formulated as follows: component characteristics must correspond to the
parameters declared by the component manufacturers.
The most important factor here is network throughput: it should
correspond to broadcasting requirements. If playback is taking place from
the file server, then the stream between the file server and the on-air
workstation may reach 500-700 KB/sec (if working with non-compressed
audio). In order to facilitate this, you can use 10MB/sec networks. But, in this
case, there should be no other workstation that can overload the channel file
server – on-air workstation. We recommend using networks with 100MB/sec
throughput.
A very important parameter for the network is the network file access
timeout (file read, write and open requests). Incorrect network settings may
result in on-air failures! That is why it is strongly recommended to provide
conflict-free network settings. The average response network time to
read/write requests should not exceed 100 milliseconds, and the average
response network time to open/create file should not exceed 200
milliseconds. Breaking this rule may lead to interface freezing for random
applications. In the case of relatively long freezing, on-air gaps may occur.
Such things happen often in office networks, but they are not catastrophic
and are often not even noticeable. But they must not happen at a radio
station, when an on-air gap is audible and disturbing.
The CAPS II radio automation system works on the Win NT 4.0 sp6,
Windows 2000, and the Windows XP operating systems. We recommend
the Windows 2000 operating system.
7.2 Digital Audio Cards
The CAPS II radio automation system can work with any kind of
digital audio card that is supported by the Windows operating system as an
audio device and which can be accessed by a user application. After
installation of the digital audio card, check the Sounds and Multimedia
section of the Control Panel (tab “Audio”). If it indicates that the card is
installed, then you can count on the application working with this card with
high probability. Nevertheless, there a lot of specific details and nuances
with various digital audio cards from different manufacturers. These nuances
can be discovered at the most inappropriate moments, so we recommend
studying this part attentively.
Let us take a look at audio cards from various manufacturers.
7.2.1 Antex
Digital audio cards from Antex Electronics (USA) are considered to be
high quality and very reliable. Over the last year, however, we have
encountered some very unpleasant situations due to card defects. We have
also not been particularly satisfied with driver quality, related to the fact that
they were originally developed for NT operating systems. There are some
peculiarities of the installation and uninstalling of drivers on Windows XP
and Windows 2000. But, if you manage to install the driver correctly, it will
work reliably and stably. Some time ago, a wdm-version of the driver
appeared (designed for Windows 2000). The installation process runs more
smoothly, but these drivers do not provide full compatibility with other
hardware, such as SoundBlaster. As a result, we safely say at present Antex
cards can be considered to be the most appropriate professional cards for
the radio broadcasting industry. We recommend using these cards after
extensive preliminary tests.
Positive points:
q Reliable hardware
q Good-quality drivers quality (if they are installed correctly they will
work reliably and stably)
q High quality of audio
q Good embedded mixer (audio level control with 1 dB precision
over all ranges)
q Supported Shuttle function
Negative points:
q Relatively high price (about 800-900$ per LX 44 – 2 audio inputs
and 2 outputs
q Complexity of driver installation and set up
q Problems when working together with Creative SB Live (mixer
conflict: attempt to use a standard mixer may lead to fatal results
when using an old driver)
q Failures during simultaneous use of an embedded mixer from
various applications
We recommend Antex LX 44 as a main choice for on-air workstations.
For editing workstations, we recommend Antex LX 24 and Antex SC 22
cards.
7.2.2 Digigram
Digigram is a well-known French company that designs and
manufactures digital audio cards for radio broadcasting and radio
production. Digigram cards are most widely used in the European radio
industry. Digigram provides API, which makes it possible for other
companies to use the internal capabilities of its cards.
Positive points:
q Audio level control with good precision over all ranges
q High reliability of hardware
q High quality embedded coder MPEG Layer 1,2 (all cards except
for VX series)
q Supported Shuttle function
Negative points:

q Low quality of WAVE driver. The start of a new even non-audio
application (e. g. Microsoft Word) usually causes the reset of
level settings. After incorrect termination of an application, you
almost always have to restart the computer.
q High price
Digigram provides a wide choice of digital audio cards. They can be
used on any type of workstation. The high quality mixer in VX-series cards
allows you to use them at retransmission radio stations.
7.2.3 Echo Audio
Echo Audio (USA) has been providing professional digital audio cards
for studio applications for more than 20 years. At the time being, 3 types can
be used for on-air workstation: LAYLA24, GINA24 and MIA.
Layla and Gina are multichannel studio cards (8/8, 8/2).
Mia is a 2 channel card supporting virtual player technology.
These cards are good quality. Until recently, the most significant
negative point was the low quality of drivers and software support. As an
example, we will mention audio interference from input to output, clicks and
pops while switching over of sampling frequency and some other faults.
Many drawbacks have been solved in the last driver versions. Presently,
only the Gina and Mia cards are supported. The latest drivers provide 2
working modes: purewave and WDM. The WDM mode allows you to open
one device (there are 4 devices) several times (but they all have only one
fader), which lets you use this card at on-air workstation with full-scale
broadcasting. Unfortunately, the card demonstrates instability and sudden
playback interruptions. Jack connectors are used for inputs and outputs.
Positive points:
q Good price/quality ratio
q Availability of digital inputs and outputs (SPDIF optical and
coaxial, ADAT).
Negative points:
q Card does not work stably. In the case of a bus overload, the
card stops playback, as a result of not getting necessary data at
the appropriate time.
These cards are positioned by us at a lower level relative Antex and
Digigram cards. Due to a sufficient number of inputs and outputs, they can
be used both for on-air and for production. We recommend Layla and Gina
cards for production studios and Mia as a start-up card for simple systems
(planning workstations and music editor workstations). Unfortunately, the
internal configuration of these cards does not allow for their use on on-air
and retransmission workstations.
7.2.4 M-Audio (MidiMan)
This company provides a wide spectrum of products for various studio
applications. They also design and manufacture digital audio cards of the
Delta and Audiophile series. These cards feature serious drawbacks (e.g.
very noisy ADC initialization on sampling frequency change over). The cards
are rather simple; some models have digital inputs and outputs. These cards
should not be used at on-air workstations, but they can be employed on
editing and planning workstations.
7.2.5 RME
This German company designs and manufactures digital audio cards
of good studio quality. The main product is the Hammerfall series of
multichannel (up to 56) cards. For the radio broadcast industry, DIGI96/8
cards (PST and PAD) can be used, as well as Hammerfall DSP. The cards
feature analogue input/output, coaxial and optical SPDIF, ADAT, and may
be used at editing, planning, on-air workstations. Due to digital I/O, they can
be used in a studio with a digital mixing console.
Positive points:
q High quality audio and high hardware reliability
q Good driver quality
q Advanced interfaces
q Good price/quality ratio
Negative points:
q DIGI96 series features a lack of hardware-level control. No
integration with Windows mixer and no API. Level control can be
provided only via program preprocessor. Hammerfall series
features API, although there is no integration with the Windows
audio system.
7.2.6 Lynx
Lynx provides multi-channel professional cards with mostly digital I/O
of good quality. Their cards can be used for radio broadcasting. We primarily
recommend Lynx AES 16 and Lynx L22.
7.2.7 Marian
Editing workstations and musical editor workplaces can be equipped
with the Marc series of Marian digital audio cards. The newly developed
MarcX card can be used at on-air workstations. It has API support.
7.2.8 Creative Labs
This manufacturer is probably the best-known in the world. Their
cards feature good quality and reliability, but at the consumer level. During
recent years, they have introduced several series of cards for the consumer
market: SBLive, SB Audigy, SB Audigy 2 and SB Extigy. SBLive can be
used for the pre-listening system at any working place. It can also be used
at Logger workstations, due to possibility of installing several cards in one
computer (the last version of drivers supports multi card modes). Audigy
cards can be used on simple editing workstations and simple musical editor
workstations.
7.3 Remote Control
Remote control can be understood as the control of certain software
modules (functions) of the radio broadcast system from external hardware
devices – consoles, button fields etc.
There is a set of commands provided by remote control devices that
can be interpreted by all virtual players and schedule modules (Fader start,
Fader stop, PFL start, PFL stop). Some specific commands can be
interpreted by certain players only. There is also a standard set of general
commands that can be interpreted by the base platform of applications.
Commands are delivered to the computer with the help of the GPI
(General Purpose Interface). Software modules that can interpret remote
control commands may be configured for specific actions assigned to certain
commands. Several remote control devices can be used simultaneously in
one system.
The general block diagram of a remote control interface is presented below.
In order to provide remote control for a certain function, you have to
connect the hardware remote control device, install drivers (if this is
necessary), choose the configuration file describing the method of device
initialization and data protocol (if needed) and assign GPI commands to
system functions.
At present, we are using LPT, COM and USB interfaces to provide
communication between the computer and the remote control device. LPT
devices require a special driver that provides the generation of a remote
command out of the contact closures on the LPT connector. COM port
devices do not require a special driver, but each device needs a
configuration file (cdu-file) describing the method of initialization of the
device and data protocol. This file will be used by CAPS II applications. USB
devices require a driver converting the external signal to a remote command
and a cdu-file describing communication with the USB device.
All remote control devices can be classified as:
q On-air consoles; each channel provides Fader-start/stop and PFL
start/stop signals. They are usually connected to an LPT port. If
the number of channels is large enough, we use special
hardware-extension modules that are connected to USB or COM
ports.
q Digital consoles. Usually, these are connected via COM or USB
interface. They provide remote command on the
depressing/holding/releasing of a button. Often, they are able to
send fader-position data, except for Fader start/stop and PFL
start/stop functions.
q Button fields. these can be connected via a COM port. They
feature sets of buttons oriented toward universal or specific
functions. Usually depressing a button once results in a single
remote command.
Most often these functions are used for remote control:
25

26
q Playback start/stop of virtual players from Fader start/stop
commands from a mixing console.
q PFL start/stop from mixing console modules for the pre-listening
of audio elements that are loaded into virtual players.
q Jingle-machine control commands.
q Schedule-navigation commands.
q Start-point search-module commands.
q Voice-track recording module.
The devices listed below are supported by the system at present (all
devices have drivers and cdu files):
q Any GPI device using contact closures may be connected to the
LPT port.
q D.Max digital mixing consoles and button fields (communication
via RS222, RS422).
q Remote consoles and button fields made by EELA
(communication via RS222, RS422).
q Interface converter "contact closure"=>GPI TR308 (USB)
q Interface converter "contact closure"=>GPI TR216 (COM)
7.3.1 The Broadcasting Station Control Center
The control center is designed for the real-time control of DJin
workstations. It allows the main and most often used functions of
broadcasting stations to be controlled during broadcasting without resorting
to the computer keyboard or mouse.
The control center can be built into mixer consoles or into production
furniture as an autonomous device. The station is controlled over the RS232
serial port or USB interface.
The control center comprises the following functional key groups.
JINGLE MACHINE
The sixteen number buttons (1 -16) allow the operator to air any jingle in
the group on the fly. Having moved to the upper level by clicking button
, an unlimited number of jingle groups (categories) can be accessed
using the same buttons. Additionally, any jingle can be prelistened with the
help of the PFL button. The playback of a jingle is stopped by clicking button
. An unlimited number of categories and an unlimited number of
jingles in the categories can be manipulated by paging through the category
lists (each containing 16 categories) and the jingle lists (there are 16 jingles in
a list) using buttons .
FAST JINGLE
A jingle from one of five categories, for example a station ID jingle,
can be called at any moment using buttons A, B, C, D, E, and F. The jingles
in the categories are rotated.
RECORDING
Buttons START RECORDING and PAUSE allow recording a signal from
the air for any type of subsequent use.
VOICE TRACK REC
The buttons and the two control faders in this functional group are
used to record voice inserts between two schedule audio items. The mode is
turned on by the VOICE button, which opens the VOICE REC window on
the workstation's screen.
First, the playback of the concluding audio item is started by the down
arrow button. Next, the audio item is faded out using the left fader. Finally,
the DJ starts the microphone recording by the MIC buttons and records his
talk. This requires using an external mixer console with the microphone
recording level controlled by a corresponding fader on the console. The
microphone recording is stopped by clicking the MIC button again. Clicking
the arrow up buttons starts the next audio item, which is faded in by the right
fader. Clicking the MONITOR button stops the process and plays back the
recorded composition.
CUE START MARK
This functional button group is used to rapidly find
the audio item start point and set a new one. The
mode is turned on by the CueStartMark button,
which opens the START POINT window on the
workstation's screen. The new start point can be
set to the INTRO 1, INTRO 2, or INTRO 3 position
right away by using the corresponding keys. The start point can also be set
by ear with the help of the button allowing the item to be played at the
normal, reduced, or increased speed and in the forward or backward
direction.

PLAYER
This group of buttons is used to control the player.
START NEXT: launches the next audio item cutting the previous one.
STOP: stops the playback of the current audio item.
SKIP: skips the next audio item.
LOAD: loads the selected audio item into the player in place of the next
audio item.
NOW: shows the schedule in such way that area being currently played
back is visible.
SCHEDULE and PFL
This button group is used to move over the schedule (by pages or by items)
and over the player positions and to prelisten to audio items or to the
crossfades between audio items.
7.3.2 The Editing Station Control Center
The control center is designed for the real-time control of the BCS Editor
workstation. It allows the main and most often used functions of simple
one-channel editing to be control without resorting to
the computer keyboard or mouse.
The control center can be built into mixer consoles
or into production furniture as an autonomous
device. The station is controlled over the RS232
serial port or a USB interface.
The control center allows the playback to be
conducted at the reduced or increased speed and in
the forward or reverse direction. The prelisten
modes "between markers," "skipping markers,"
"from the active marker," and "toward the active
marker" can be set. Audio items can be looped and
active markers – Intro, Outro, and Insert – can be
set. Markers can be manipulated in the window.
Such editing functions as CUT, DEL, COPY, and
PASTE are available. The number of UNDO and
REDO operations is unlimited.
Various scaling manipulations of the audio item's
visible part can be performed.
The recording mode, including pickup recording, can
be controlled.
27

8 System Integration
8.1 LOGOS Mixer
The LOGOS mixer system consists of 2 parts: the console (remote control panel unit) and the rack unit (2U 19-inch rack with all audio connections). The
console has all familiar audio and switching controls: faders, knobs, level indicators. It also has 8 assignable keys and a jog/shuttle wheel for the remote control of
the digital audio workstation. The console also has a set of numeric keys for the manual dialing of hybrids and codecs and LCD display. All audio schematics and
connectors are kept inside the rack unit.
28
Editing workstation
Digigram VX-222
The console has 3 faders. The left
fader is always the main microphone
channel. This channel has a built-in
limiter/compressor. Two other faders
correspond to line channels. Above each of
the 2 line-channel faders there are 8
pushbuttons with LED indicators for inputsource
selection. A source will immediately
be assigned to a closed fader and only
accepted when the other fader does not
select that source. Pre-selection can be
done by an open fader. Then, the newly
selected source is pre-selected. Upon
closing the fader, the newly selected
source will become active on that channel.
A maximum of 6 input/output
(analogue or digital) modules can be
plugged into the rack unit. Inputs are
always combined with outputs on the one
multi-pin connector on the board. Also
signaling, fader start/stop is present on this
DB25 connector. The front panel of the
rack unit has 2 audio inputs: one digital
AES input and one analogue stereo input
for the operative connection of any kind of journalist recording device. The rack unit has an external meter output, loudspeaker outputs, main output, a 9-pole sub-D
connector with a number of input and output general-purpose signals (e.g. for ON AIR red light or cough button), and an RS232 connector for communication with
PC.
Radio journalist’s working place with LOGOS mixer
Logos can help journalists to prepare materials for on-air delivery: the re-recording of source-report materials to the workstation, the recording of voice commentaries and
guest interviews. Logos can also control the basic functions of the digital audio-editing workstation that allows the operator to use traditional controls, rather than a computer
mouse and keyboard.
Journalist workstation on the base of EELA AUDIO mixer / switcher LOGOS.
The main tasks that can be carried out at this spot are the recording, editing and pre-production of audio items to be used later on-air. This workstation can be
used either as a little stand-alone studio or as a part of a radio broadcast complex.
The main feature of this workstation is its compact mixing console and LOGOS switcher, which can provide for the easy handling of several signal sources,
including remote-control functions and basic operations of the digital editing workstation.
Audio handling:
q Non-destructive non-linear multichannel editing, voice-track recording, telephone-interview recording, and the use of external CD and MD sources. If this
workstation is used as a part of radio broadcast complex, it can provide additional functions: editing and adding material to a database (musical,
commercial, news). It is also possible to deliver material on air from this workstation place.
q All sources and the digital audio-editing workstation are connected to the LOGOS rack unit via the AES/EBU interface.
Text handling:
*
AES OUT
AES IN
RS-232
LOGOS/ desktop console
AES/EBU
AES/EBU
Block diagram of journalist’s working place based on LOGOS
AES/EBU
AES/EBU
LOGOS/ dsp unit
Rear side
Front side
Digital telephone hybrid
EA-915
CD player
MD recorder
q Acquisition, selection, compilation, typing, printing of text. Text can be associated with the schedule elements for displaying it at the moderator screen of
the on-air workstation at the appropriate time.
q Text and audio handling:
q Creating of text files from audio items. Reading of text passages from a computer screen and voice recording on a PC HDD from a microphone input.
It is possible to connect 2 additional stationary audio sources with digital or analogue inputs/outputs and
2 temporary sources with digital and analogue inputs/outputs. Connectors for temporary sources are located at the front panel of the LOGOS rack unit.
All equipment is located in a technical furniture set, including table 19 inch rack 6U.

Specification on the working place for a radio journalist based on LOGOS
Code Description Manufacturer Quantity
Editing workstation
BCS editor Software application BCS editor (DB) EELA 1
Personal computer 1
VX-222 Digital audio card DIGIGRAM VX-222 Digigram 1
LOGOS Mixer / switcher LOGOS Eela Audio 1
DT-290 Headset DT-290 Beyerdynamic 1
MDS-E12 MD recorder 19" 1U, I/O RCA and XLR, AES/EBU, fader start Sony 1
PMD 325
CD player 19" 2U, outputs XLR, fader start, MP3, Pitch Control, CD-RW, CD
Text, instant start
Marantz 1
EA-915/x Digital telephone hybrid Eela Audio 1
TR-A Active acoustic monitor TRACT 2
Technical furniture and cabling
Furniture Computer table + mains extender TRACT 1
Cabling Complete set of cables. Neutrik connectors. All cables are marked. TRACT 1
8.2 Production Block Based on the EELA AUDIO S130 Mixing Console
A production block can be used for the production of musical and voice programs and commercials, the non-linear editing and processing of audio items, and
the filling in of musical database. It can be used either as a stand-alone block or as part of a radio broadcasting complex. In the latter instance, it can be used as an
on-air reserve block.
The production block consists of a control room and studio.
Studio
Control Room
Editing workstation
Компьютерный
монитор
Digigram VX-442
Compressor/limiter
OUT
IN
RS-232
Block diagram of production block based on S130
Studio EA-853
Interface
Control room
Sources:
q CD player
q CD recorder (embedded in the digital audio editing station)
q MD recorder
q TAPE recorder
Processing devices:
MIC LIVE
MIC LIVE
ТАРЕ recorder
CD player
MD recorder
Effect processor
Red-light signalling unit
EA-862
q Effect processor – allows you to add various audio effects during recording and production.
29

30
q 4-channel compressor/
limiter is used during voice recording.
Audio handling:
q Non-destructive non-linear multichannel editing, voice track recording, telephone interview recording, and the use of external CD and MD sources. If this
workstation is used as a part of a radio broadcast complex, it can provide additional functions: the editing and addition of material to the database (music,
commercials, news). It is also possible to deliver material on air from this workstation.
q All sources and digital audio editing workstations are connected to the LOGOS rack unit via the AES/EBU interface.
Text handling:
q Acquisition, selection, compilation, typing, and printing of text. Text can be associated with schedule elements for displaying it on the moderator screen of
the on-air workstation at the appropriate time.
Text and audio handling:
q Creating of text files from audio items. Reading of text passages from a computer screen and voice recording on a PC HDD from amicrophone input.
Signaling:
q The production block uses 2 red-light units. It is also possible to use one more red-light unit.
The functionality and logic of red-light units can be adjusted by the user according to his or her needs.
K&H O110
Control room of the production block layout
GAIN
HPF
HF
MF
LF
PAN
AUX
1
2
3
-10 +10
-10 +10
-12 +12
-12
-15
-12
6
6
12
18
24
30
60
0 0
+12
+12
L R
REMOTE
LINE MIC INSERT
S131
7 KHz
OVL
+12
GAIN
HPF
HF
MF
LF
PAN
AUX
1
2
3
-10 +10
-10 +10
-12 +12
-12
-15
-12
6
6
12
18
24
30
60
0 0
+12
+12
L R
REMOTE
LINE MIC INSERT
S131
7 KHz
OVL
+12
GAIN
HPF
HF
MF
LF
PAN
AUX
1
2
3
S131
-10 +10
-10 +10
-12 +12
-12
-15
-12
REMOTE
LINE MIC INSERT
L R
OVL
+12
6
6
12
18
24
30
60
0 0
S130
HF
MF
LF
BAL
AUX
1
2
3
-10 +10
-12 +12
L R
OVL
+12
MIC LVE K&H O110
AKG K-301
S130
OVL
+12
EELA S131 EELA S131 EELA S131 EELA S130 EELA S132/E EELA S132/E EELA S132/E EELA S132/E EELA S132/E EELA S130
HF
MF
LF
BAL
AUX
1
2
3
-10 +10
-12 +12
L R
OVL
+12
S130 mixing console layout (18 module chassis)
+12
7 KHz
+12
6
6
12
18
24
30
60
0 0
GAIN
HF
MF
LF
BAL
AUX
1
2
3
-10 +10
MONO
-12 +12
-12
-12
L R
OVL
+12
6
6
12
18
24
30
60
0 0
+12
+12
GAIN
HF
MF
LF
BAL
AUX
1
2
3
-10 +10
MONO
-12 +12
-12
-12
L R
Mixing console configuration:
q 18 module-section chassis (width - 720 mm)
GAIN
MONO
-12
-12
6
6
12
18
24
30
60
0 0
+12
+12
REMOTE
RIGHT
LEFT
S132
GAIN
MONO
-12
-12
+12
+12
REMOTE
RIGHT
LEFT
S132
REMOTE
RIGHT
LEFT
S132
OVL
+12
6
6
12
18
24
30
60
0 0
S132
+12
+12
REMOTE
RIGHT
LEFT
GAIN
HF
MF
LF
BAL
AUX
1
2
3
-10 +10
MONO
-12 +12
-12
-12
L R
q S131 – 3 pcs. – MIC/LINE input channel;
q S132E - 5 pcs – Stereo LINE input with equalizer;
q S134 – 2 pcs. – Group OUTPUT with high-level return;
6
6
12
18
24
30
60
0 0
S132
+12
+12
REMOTE
RIGHT
LEFT
S130
RS-232
CUT DEL COPY PASTE
S130
BAL
LVL
GROUP 1-2
10
5
+12
6
6
12
18
24
30
60
0 0
O UT RIGHT
O UT LEFT
H/L RIG HT
H/L L EFT
S134
L R
DBX 1046EU
TAPE Recorder
Tascam 112mkII
Sony MDS-E12
Marantz PMD-325
M-ONE XL
Blank р anel 1U
GROUP 3-4
Blank рanel 3U
Blank рanel 3U
EA-862
Blank рanel 3U
Blank рanel 3U
Blank рanel 3U
OUT RIGHT
OUT LEFT
H/L RIGHT
H/L LEFT
S134
0
0
25
25
LVL LVL LVL LVL
BAL
L R
LVL
10
5
+12
6
6
12
18
24
30
60
0 0
SIGN
M ON
POWER
S130
T/ B
OSC
INS L
INS R
MONO
EXT I/P L EXT I/P R AUX1
SERIAL NR:
REMOTE CTL
METERBRIDGE
EELA S130 EELA S134 EELA S134 EELA S135 EELA S136 EELA S138
REL
+10
+5
+0
+25
GR
+12
6
6
12
18
24
30
60
0 0
AUX
1
2
3
TB
MIX L
AUX2
MON
HPH
PHONES
MIX R
AUX3
+48V
+18V
-18V
S 130
PFL

q S135 – 1 pcs. – Master OUTPUT with compressor limiter;
q S136 – 1 pcs. – Auxiliary / Oscillator / Talkback;
q S138 – 1 pcs. – Monitor module;
q S130 – 3 pcs. – blank panel
A special remote-control device is embedded in the console. This unit can be used for the remote control of the digital audio workstation.
The mixer features 3 blank spaces, so it can be used later for further extensions.
One of the S132/E modules is for reserve and is not included in the typical configuration of the workstation. This module can be used for the connection of
auxiliary sources, such as tape recorders. In this case, this workstation can also be used for the digitizing of old tape libraries.
The power unit of mixing console is maintained in a separate, 19” rack unit.
All equipment is displaced in tachnical furniture including table 19” rack 9U and floor 19” rack 6U.
Studio
Studio equipment includes 3 microphones, 3 sets of headphones, acoustic monitors (automatically muted when the microphone channel is opened) and a MIC
LIVE red-light unit. The EA853 studio interface, which is also displaced in the studio, features cough control and a mic-live indicator.
The studio can be used for recording musical and talk programs with the participation of a number of guests, as well as the production of commercials.
The studio and control room are connected by intercom, allowing for communicate between the operator and guests without it being part of the on-air
program.
Specifications for the production block on the base of S130 mixing console
Code Description Manufacturer Q-ty
Mixing console
S130 Mixing console Eela Audio 1
Editing workstation
BCS Editor Software application BCS Editor (DB) EELA 1
VX-222 Digital audio card DIGIGRAM VX-222 Digigram 1
PC Personal computer 1
Sources
PMD 325
CD player 19" 2U, outputs XLR, fader start, Pitch Control, CD-RW,
CD Text, instant start
Marantz 1
MDS-E12 MD recorder 19" 1U, inputs/outputs RCA and XLR, fader start Sony 1
112 MK II Cassette tape recorder, 19" 3U PRO, fader start Tascam 1
Processing devices
M-ONE XL Effect processor TC electronic 1
Microphone group
1046-EU 4 channel compressor/limiter DBX 1
Acoustic monitors
O 110 Active acoustic monitors Klein&Hummel 2
Other equipment
EA862 Red-light control unit Eela Audio 1
Red light unit MIC LIVE red-light unit Canford 2
Technical furniture and cabling
Furniture
Cable Set
Microphone group
VOICE STUDIO
Technical table with RACKs. The mixing console is embedded in
the table. Mains extensions.
Complete set of cables: audio, signaling, control cables. Neutrik
connectors. All cables are marked.
TRACT 1
TRACT 1
SM7 Dynamic studio microphone , cardioid Shure 3
Pantograph – microphone support. Circular zone 1,200 mm Canford 3
EA853 Studio interface Eela Audio 1
Acoustic monitoring
K240DF Headphones "Studio Monitor" AKG 3
Technical furniture and cabling
Cable set
Moderator table TRACT 1
Complete set of cables: audio, signaling, control cables. Neutrik
connectors. All cables are marked.
TRACT 1
31

8.3 On-air Block on the Base of the SBM90 Mixing Console
32
The on-air block on the base of SBM90 mixing console includes an on-air control room and voice studio.
On-air control room on the base of the SBM90mixing console.
Studio
Control Room
Tel line
Tel line
Compressor/limiter
StudioEA853
interface
On-Air workstation
Mixing console SBM 90
Block diagram of on-air block on the base of the SBM90 mixing console
ON AIR
CD player
MD recorder
FM-tuner
Sony ST-SE370
Red-light control unit
EA 862
ON AIR
This is a good solution for an on-air control room for a medium-sized private radio station. The control room is based upon an on-air SBM90 mixing console
from Eela Audio and the CAPS II radio-automation system. On-air can be provided in manual and automatic modes of operation. It is possible to use the control
room as a stand-alone block of equipment or as a part of radio-broadcasting complex.
ON AIR
AKG K-301
SBM-90 Shure SM-7
FM-tuner
Sony ST-SE370
DBX 1046EU
Blank panel3U
Sony MDS-E12
Blank panel 1U
Marantz PMD-325
Blank panel 1U
Blank panel 3U
Blank panel 3U
EA 862
Blank panel 3U
Blank panel 3U
Blank panel 3U
All equipment is displaced in technical furniture (see picture), including table 19” rack 9U and floor 19” rack 16U.
The control room provides: on-air delivery of radio programming from the on-air broadcasting workstation, CD-player, MD recorder. All sources have remote
start facilities.
Due to a free-line stereo input in the mixing console, you can connect any external source (eg., the output of the production block or a journalist’s works
station).
Two telephone hybrids provide the ability to organize telephone contests with the participation of 2 listeners.
Microphone group
Microphone displacement (one in the control room and the second in the studio) provides the ability to work either with the studio or without. All microphones
are connected to a 4-channel compressor/limiter.

Monitoring and signaling
Two «MIC LIVE» red-light units are provided. Red lights are connected to the EA-863 red-light control unit. The EA-863 has a 3rd output, which provides the
ability for future expansion. The logic of red-light functionality is defined by the user.
Visual indication of the audio level is provided by the LED level indicator located in the upper part of the SBM90 mixing desk.
Acoustic monitoring is provided through acoustic monitors and headphones. It is possible to monitor radio-station output using an FM tuner. Pre-listening
functions are provided at the on-air workstation as well.
Mixing console’s configuration:
q S91 - 3 pcs. – Microphone inputs;
q S92 - 5 pcs. – stereo line input modules;
q S93 – 2 pcs. – telephone modules;
q S97 – 1 pcs. – Control room monitor module;
q S98 – 1 pcs. – Studio monitor module
q S90/1 – 7 pcs. – blank panels
The layout of EELA AUDIO SBM90 mixing console (chassis with 25 modules)
Future expansion of the mixing console is possible due to 7 free spaces in the mixer chassis.
The power supply for the mixing console is built into a separate 19” rack.
On-air studio
The on-air studio has 2 microphones, 2 headphone sets, acoustic monitors (automatically muted when the microphone channel is opened) and a MIC LIVE red-light
unit. The EA853 studio interface also installed in the studio features cough control and an open-mic indicator.
The studio can be used for programs involving the participation of several guests, located in the studio, while the presenter works from the control room. It is also
possible to work with the operator in the control room and the presenter in the studio.
The studio and control room are connected by an intercom allowing for off-air communication between the operator andguests
33

Specification of an on-air block based upon an SBM90 mixing console
34
Code Description Manufacturer Quantity
On-air mixing console
SBM90 On-air radio mixing console Eela Audio 1
On-air workstation
DJIN
On-air workstation DJIN. Set of different configurations. Works on Windows
NT/2000 operating system.
EELA 1
LX-44 Professional digital audio card. Two inputs / outputs. Antex 1
PC Personal computer 1
Sources
PMD 325
CD player 19" 2U, outputs XLR, fader start, MP3, Pitch Control, CD-RW, CD Text,
instant start
Marantz 1
MDS-E12 MD recorder 19" 1U, inputs/outputs RCA и XLR, fader start Sony 1
Microphone group
SM7 Studio Microphone dynamical cardioid Shure 1
Pantograph – microphone support. Circular zone 1,200 mm Canford 1
1046-EU 4-channel compressor / limiter DBX 1
Acoustic monitoring
TR-A Active acoustic monitor TRACT 2
K 301 Headphones AKG 1
ST-SE 370 Tuner FM - stereo (for monitoring) Sony 1
Other equipment
EA 862 Red-light control unit Eela Audio 1
Red light MIC LIVE red-light unit Canford 2
Technical furniture and cabling
Furniture Technical table with RACKs and mains extensions TRACT 1
Cable Set
Complete set of cables: audio, signaling, control cables. Neutrik connectors. All
cables are marked.
VOICE STUDIO
TRACT 1
Microphone group
SM7 Studio Microphone dynamical cardioid Shure 2
Pantograph – microphone support. Circular zone 1200 mm Canford 2
EA 853 Studio interface Eela Audio 1
Acoustic mopnitoring
K240DF Headphones "Studio Monitor" AKG 2
Technical furniture and cabling
Cable STUDIO
Moderator table TRACT 1
Complete set of cables: audio, signaling, control cables. Neutrik connectors. All
cables are marked.
TRACT 1

8.4 On-air Block Based on
the S130 Mixing Console
On-air block consists of control room and studio.
Control room
The control room provides: on-air delivery of radio programming from an on-air broadcasting workstation
(4 stereo channels), CD-player, MD recorder, tape sources. It can provide for the organization of telephone contests with the participation of 2 listeners. It is also
possible to record voice tracks and record material from one media to another.
Studio
Control Room
On-Air workstation
Компьютерный
монитор
ProVocal
Mic processor
Компьютерный
монитор
ANTEX LX44
OUT 1
OUT 2
IN 1
ANTEX LX44
OUT 1
OUT 2
RS-232
Comressor/limiter
StudioEA-853
Interface
Block diagram of an on-air block based on S130 mixing console
Blank panel 1U
EA-915
EA-915
ProVocal
Blank panel 1U
AKG K-240M
The layout of control room equipment
MIC LIVE
S130
MIC LIVE
MIC LIVE
FM-tuner
Sony ST-SE370
CD player
ТАРЕ recorder
MD recorder
Digital telephone hybrid
EA-915
EA-915
Red-light control unit
EA-862
Modulation Processor
EA-921
AKG K240M
FM-tuner
Sony ST-SE370
Blank panel2U
EA-862
Blank panel 2U
Blank panel 2U
Blank panel 3U
Blank panel 3U
Blank panel 3U
Blank panel 3U
When not on-air, the control room can be used for filling in the database or for the production of music and talk programs. Schedule control is also possible.
All sources, including the on-air workstation, have remote control and pre-listening facilities.
Monitoring and signaling
Three MIC LIVE red-light units are provided. Red lights are connected to the EA-863 red-light control unit. Red lights are usually installed in the studio, control
room and above the door to the broadcast block. The logic of red-light functionality is defined by the user.
A visual indicator of the audio level is provided by an LED level indicator located in the upper part of the mixing desk.
Acoustic monitoring is provided by acoustic monitors and headphones. It is Also possible to monitor radio station output using an FM tuner. Pre-listening
functions are provided at the on-air workstation as well.
PGM out
35

Processing
The processing of the audio signal is carried out by means of a 2-channel compressor / limiter (for studio microphones) and microphone processor in the
control room. The main output signal is fed to the FM processor, which is hooked up ahead of the transmitter.
GAIN
HPF
HF
MF
EELA S131 EELA S131 EELA S131 EELA S130 EELA S132 EELA S132 EELA S132 EELA S132 EELA S132 EELA S132/E EELA S132/E EELA S130
36
S131 S131
GAIN
HPF
HF
MF
LF
PAN
PAN
S131
L R L R L R
AUX
1
2
3
-10 +10
-10 +10
-12 +12
-12
-12
6
6
12
18
24
30
60
0 0
+12
GAIN
HPF
HF
MF
LF
AUX
1
2
3
-10 +10
-10 +10
-12 +12
-15 7 KHz -15 7 KHz -15 7 KHz
LF
PAN
AUX
1
2
3
-10 +10
-10 +10
-12 +12
-12
-12
6
6
12
18
24
30
60
0 0
+12
+12
OVL
+12
+12
OVL
+12
-12
-12
OVL
+12
6
6
12
18
24
30
60
0 0
+12
+12
S130 S132
S132
S132
S132
GAIN
BAL
L R L R L R L R L R L R L R
AUX
1
2
3
-10 +10
MONO
OVL
+12
6
6
12
18
24
30
60
0 0
GAIN
BAL
AUX
1
2
3
-10 +10
MONO
OVL
+12
6
6
12
18
24
30
60
0 0
GAIN
BAL
AUX
1
2
3
-10 +10
MONO
OVL
+12
6
6
12
18
24
30
60
0 0
GAIN
BAL
AUX
1
2
3
-10 +10
MONO
OVL
+12
6
6
12
18
24
30
60
0 0
GAIN
BAL
AUX
1
2
3
-10 +10
MONO
OVL
+12
6
6
12
18
24
30
60
0 0
GAIN
HF
MF
LF
BAL
AUX
1
2
3
-10 +10
MONO
-12 +12
-12
-12
OVL
+12
Mixing console S130 layout in chassis 25 modules
Mixing console configuration:
6
6
12
18
24
30
60
0 0
S132
+12
+12
GAIN
HF
MF
LF
BAL
AUX
1
2
3
-12
-12
6
6
12
18
24
30
60
0 0
S132
-10 +10
MONO
-12 +12
q 24 module sections chassis (width - 960 mm)
q S131 – 3 pcs. – MIC/LINE input channel;
q S132 - 5 pcs – Stereo LINE input without equalizer;
q S132E - 5 pcs – Stereo LINE input with equalizer;
q S133 – 2 pcs – Telephone input/output module;
q S136 – 1 pcs. – Auxiliary / Oscillator / Talkback;
q S137 – 1 pcs. – Studio monitor module;
q S138 – 1 pcs. – Monitor module;
q S130/M – 1 pcs – master module;
q S130 – 3 pcs. – blank panel
A meterbridge for the console features:
q EA609 – 1 pcs. – Dual LED PPM meter;
q EA704 – 1 pcs. – PFL speaker;
q EA709 – 1 pcs. – Dual LED PPM meter;
+12
+12
OVL
+12
q EA717/1 – 1 pcs. – Clock/timer module (2U)
S130
RS-232
S130
GAIN
BAL
L R L R
AUX
1
2
3
-10 +10
MONO
OVL
+12
6
6
12
18
24
30
60
0 0
S133 S133
GAIN
BAL
AUX
1
2
3
-10 +10
MONO
OVL
+12
6
6
12
18
24
30
60
0 0
SIG N
M ON
POWER
S130
T/ B
O SC
EXT I/P L EXT I/P R
I NS L
I N S R
SERIAL NR:
METERBRIDGE
MONO AIR L
AUX1 AUX2
REMOTE CTL
EELA S130 EELA S133 EELA S133 EELA S130/M EELA S136 EELA S137 EELA S138
S130
TALKBACK MIC TALKBACK MIC
A special remote-control device is embedded in the console. This unit can be used for the remote control of the digital audio workstation.
The mixer features 3 blank spaces that can be used in future expansion.
All equipment in the on-air control room, except for the FM processor and the red-light unit, is mounted in a technical table in 3 racks: 3U and 6U – on table
racks and a 16U floor rack.
The power unit of the mixing console is located in a separate 19” rack unit.
Studio
The on-air studio has 2 microphones, 2 pairs of headphones, acoustic monitors (automatically muted when the microphone channel is opened) and a MIC
LIVE red-light unit. The EA853 studio interface, also located in the studio, features cough control and an open-mic indicator.
The studio can be used for programs involving several in-studio guests and a presenter in control room. It is also possible to have the operator in the control
room and the presenter in the studio.
The studio and control room are connected with an intercom allowing for off-air communication between the operator and guests.
AUX
1
2
3
TB
MIC ON
LSP
PRES.
GUEST
STUDIO
TALKBACK
MON
HPH
AIR R
AUX3
+48V
+18V
-18V
S 130
PHONES
GUEST PRES.
PFL

Specification of an on-air block based upon an S130 mixing console
Code Description Manufacturer Q-ty
CONTROL ROOM
On-air mixing console
S130-ВА On-air mixing console S130
On-air workstation
Eela Audio 1
DJIN On-air workstation DJIN. Set of different configurations. Works on Windows
NT/2000 operating system.
EELA 1
LX-44 Professional digital audio card. Two inputs / outputs. Antex 2
PC Personal computer 1
Remote control On-air remote control panel embedded into S130 EELA 1
Sources
EA 915 Digital telephone hybrid Eela Audio 2
PMD 325 Professional CD player CD, CD-R, CD-RW and MP3 Marantz 1
MDS-E12 MD recorder 19" 1U, inputs/outputs RCA and XLR, fader start Sony 1
112 MkII Professional cassette tape recorder, 3 heads Tascam 1
LA-112 Balanced I/O interface for MK 112 Tascam 1
Microphone group
SM7 Studio Microphone dynamical cardioid Shure 1
23850.300.55 Pantograph – microphone support. Konig & Mayer 1
1066 2 channel compressor/limiter/expander/gate DBX 1
PROVOCAL-EU Digital microphone processor
Acoustic monitoring
DBX 1
TR-A Active acoustic monitor TRACT 2
K240M Headphones AKG 1
ST-SE 370 Tuner FM - stereo (for monitoring) Sony 1
Other equipment
EA-862 Indicator board’s control block Eela Audio 1
Red light Ed light unit "MIC LIVE" TRACT 3
EA-921 Modulation processor Eela Audio 1
Furniture
Cable Set CR
Technological furniture and cabling
Technological furniture with RACKs and mains extenders. Mixing console is
embedded into table.
Complete set of cables: audio, signaling, control cables. Neutrik connectors.
All cables are marked.
VOICE STUDIO
Microphone group
TRACT 1
TRACT 1
С4500B Microphone cardioid AKG 2
23850.300.55 Pantograph, microphone support Konig & Mayer 2
EA-853 Studio interface Eela Audio 1
Acoustic monitoring
K240DF Headphones "Studio Monitor" AKG 2
TR-A Active acoustic monitor TRACT 2
Technical furniture and cabling
Furniture Presenter table TRACT 1
Cable Set ST Complete set of cables for studio TRACT 1
37

38
9 Typical Workstation Screenshots

42
ON-AIR RETRANSMISSION STATION

44
ON-AIR STATION

ON-AIR STATION
45

46
MULTICHANNEL INSERTER STATION

MEDIA DATABASE
interstage
Phistersvej 31, 2900 Hellerup, Danmark
Telefon 3946 0000, fax 3946 0040
www.interstage.dk
- pro audio with a smile
49