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Broadcast automation incorporates the use ofbroadcast programming technology toautomatebroadcasting operations. Used either at abroadcast network,radio station or atelevision station, it can run a facility in the absence of a humanoperator. They can also run in alive assist mode when there are on-air personnel present at themaster control,television studio orcontrol room.
Theradio transmitter end of theairchain is handled by a separateautomatic transmission system (ATS).
Originally, in the US, many (if not most)broadcast licensing authorities required a licensedboard operator to run every station at all times, meaning that everyDJ had to pass an exam to obtain a license to be on-air, if their duties also required them to ensure proper operation of the transmitter. This was often the case on overnight and weekendshifts when there was nobroadcast engineer present, and all of the time for small stations with only a contract engineer on call.
In the U.S., it was also necessary to have an operator on duty at all times in case theEmergency Broadcast System (EBS) was used, as this had to be triggered manually. While there has not been a requirement to relay any otherwarnings, any mandatory messages from the U.S. president would have had to first beauthenticated with acode word sealed in a pink envelope sent annually to stations by theFederal Communications Commission (FCC).
Gradually, the quality and reliability of electronic equipment improved, regulations were relaxed, and no operator had to be present (or even available) while a station was operating. In the U.S., this came about when theEAS replaced the EBS, starting the movement toward automation to assist, and sometimes take the place of, the livedisc jockeys (DJs) andradio personalities. in 1999, The Weather Channel launched Weatherscan Local, a cable television channel that broadcast uninterrupted live local weather information and forecasts. Weatherscan Local becameWeatherscan in 2003 but was shut down in 2022.
Early automation systems wereelectromechanical systems which usedrelays. Later systems were "computerized" only to the point of maintaining a schedule, and were limited to radio rather than TV. Music would be stored onreel-to-reel audio tape.Subaudible tones on the tape marked the end of each song. The computer would simply rotate among the tape players until the computer's internal clock matched that of a scheduled event. When a scheduled event would be encountered, the computer would finish the currently-playing song and then execute the scheduled block of events. These events were usuallyadvertisements, but could also include the station's top-of-hourstation identification, news, or abumper promoting the station or its other shows. At the end of the block, the rotation among tapes resumed.
Advertisements,jingles, and the top-of-hour station identification required by law were commonly stored onFidelipac endless-loop tape cartridges, known colloquially as "carts". These were similar to the consumer four-track tapes sold under theStereo-Pak brand, but had only two tracks and were usually recorded and played at 7.5tape inches per second (in/s) compared to Stereo-Pak's slower 3.75 in/s. The carts had a slot for a pinch roller[1] on a spindle which was activated by solenoid upon pressing the start button on the cart machine. Because thecapstan was already spinning at full speed, tape playback commenced without delay or any audible "run-up". Mechanicalcarousels would rotate the carts in and out of multipletape players as dictated by the computer. Time announcements were provided by a pair of dedicated cart players, with the even minutes stored on one and the odd minutes on the other, meaning an announcement would always be ready to play even if the minute was changing when the announcement was triggered. The system did require attention throughout the day to change reels as they ran out and reload carts, and thus became obsolete when a method was developed to automatically rewind and re-cue the reel tapes when they ran out, extending 'walk-away' time indefinitely.
Radio stationWIRX may have been one of the world's first completely automated radio stations, built and designed by Brian Jeffrey Brown in 1963 when Brown was only 10 years old.[citation needed] The station broadcast in a classical format, called "More Good Music (MGM)" and featured five-minute bottom-of-the-hour news feeds from theMutual Broadcasting System. The heart of the automation was an 8 x 24 telephonestepping relay which controlled two reel-to-reel tape decks, one twelve inchAmpex machine providing the main program audio and a secondRCA seven inch machine providing "fill" music. The tapes played by these machines were originally produced in theMidwest Family Broadcasting (MWF) Madison, Wisconsin production facility by WSJM Chief Engineer Richard E. McLemore (and later in-house at WSJM) with sub-audible tones used to signal the end of a song. The stepping relay was programmed by slide switches in the front of the two relay racks which housed the equipment. The news feeds were triggered by amicroswitch which was attached to aWestern Union clock and tripped by the minute hand of the clock, then reset the stepping relay. Originally, 30-minute station identification was accomplished by asimulcast switch in the control booth for sister stationWSJM, whereupon the disc jockey in the booth would announce "This is WSJM-AM and... (then pressing the momentary contact button) ...WSJM-FM, St. Joseph, Michigan." This only lasted about six months, however, and a standard tape cartridge player was wired in to announce the station identification and triggered by the Western Union clock.
A different technology appeared in 1980 with the analog recorders made by Solidyne, which used a computer-controlled tape positioning system. Four GMS 204 units were controlled from a 6809microprocessor, with the program stored in asolid-state plug-inmemory module. This system has a limited programming time of about eight hours.
Satellite programming often used audibledual-tone multi-frequency (DTMF) signals to trigger events ataffiliate stations. This allowed the automatic local insertion of ads and station IDs. Because there are 12 (or 16) tone pairs, and typically four tones were sent in rapid succession (less than one second), more events could be triggered than by sub-audible tones (usually 25 Hz and 35 Hz).
Modern systems run onhard disk, where all of the music, jingles, advertisements,voice tracks, and other announcements are stored. These audio files may be eithercompressed or uncompressed, or often with only minimal compression as a compromise between file size and quality. Forradio software, these disks are usually in computers, sometimes running their own customoperating systems, but more often running as anapplication on a PC operating system.
Scheduling was an important advance of these systems, allowing for exact timing. Some systems useGPS satellitereceivers to obtain exactatomic time, for perfectsynchronization with satellite-deliveredprogramming. Reasonably-accurate timekeeping can also be obtained with the use ofInternet Protocols (IP) likeNetwork Time Protocol (NTP).
Automation systems are also more interactive than ever before withdigital audio workstation (DAW) withconsole automation and can even record from atelephone hybrid to play back an edited conversation with a telephone caller. This is part of a system's live-assist mode.
The use of automation software andvoice tracks to replace live DJs is a current trend in radio broadcasting, done by manyInternet radio andadult hits stations. Stations can even be voice-tracked from another city far away, now often delivering sound files over the Internet. In the U.S., this is a common practice under controversy for making radio more generic and artificial. Having local content is also touted as a way for traditional stations to compete withsatellite radio, where there may be noradio personality on the air at all.
A commercially available, for-sale product namedAudicom was introduced by Oscar Bonello in 1989.[2] It is based onpsychoacoustic lossy compression, the same principle being used in most modern lossy audio encoders such asMP3 andAdvanced Audio Coding (AAC), and it allowed both broadcast automation and recording tohard drives.[3][4]
In television,playoutautomation is also becoming more practical as the storage space ofhard drives increases.Television shows andtelevision commercials, as well asdigital on-screen graphics (DOG or BUG), can all be stored onvideo servers remotely controlled by computers utilizing the9-Pin Protocol and theVideo Disk Control Protocol (VDCP). These systems can be very extensive, tied-in with parts that allow the "ingest" (as it is called in the industry) of video from satellite networks andelectronic news gathering (ENG) operations and management of the video library, including archival offootage for later use. InATSC,Programming Metadata Communication Protocol (PMCP) is then used to pass information about the video through the airchain toProgram and System Information Protocol (PSIP), which transmits the currentelectronic program guide (EPG) information over digital television to the viewer.
