WHLO studio picture
 

The link below is supposed to be a picture of the WHLO studio in the mid
60's. Can anyone confirm this, the year, and who the DJ is?
http://www.flickr.com/photos/radio_d...02890/sizes/l/

I have my doubts. Most radio stations have some sort of banner and logo
that is displayed for any pictures, which I don't see. I also doubt
that the picture was mid 60's because continuous loop tapes were in use
in the early 60's, and there are none to be seen. Finally, all the
coffee suggests that this was a late-night or over-night shift, which
WHLO didn't have.

Dave,

WHLO studio picture
 

Dave Boland wrote:

I have my doubts. Most radio stations have some sort of banner and logo
that is displayed for any pictures, which I don't see.

Many stations never had mic flags. And those that did often used them only
for remotes, not in-studio. I can think of a number of stations I worked for
that never had mic flags at all.

I also doubt
that the picture was mid 60's because continuous loop tapes were in use
in the early 60's, and there are none to be seen.

As late as 1965 there were stations that still used open reel tapes for spots.
I can remember visiting KDAC in Fort Bragg California. Their spots were live
or on 3 or 5-inch reels. In those days the Fidelipac system was still under
patent, and thus was expensive to buy. So, lots of smaller stations just made
do without until they couldn't hold out any longer.

Finally, all the
coffee suggests that this was a late-night or over-night shift, which
WHLO didn't have.

Not necessarily, either. Radio stations were known for having few perqs, but
one perq nearly every station had where I ever worked was the coffee pot.

While you're attempting good detective work, none of the things you mention
point to a fraudulent photo. Now, I haven't seen the photo and I know nothing
about WHLO, but I'm just basing this on my experience.

WHLO studio picture
 

"Dave Boland" wrote in message
...
The link below is supposed to be a picture of the WHLO studio in the mid
60's. Can anyone confirm this, the year, and who the DJ is?
http://www.flickr.com/photos/radio_d...02890/sizes/l/

I have my doubts. Most radio stations have some sort of banner and logo
that is displayed for any pictures, which I don't see. I also doubt that
the picture was mid 60's because continuous loop tapes were in use in the
early 60's, and there are none to be seen. Finally, all the coffee
suggests that this was a late-night or over-night shift, which WHLO didn't
have.

Dave,


Cart storage: lower left

Cart decks: portions of two showing middle left

WHLO studio picture
 

Spammy wrote:
"Dave Boland" wrote in message
...
The link below is supposed to be a picture of the WHLO studio in the mid
60's. Can anyone confirm this, the year, and who the DJ is?
http://www.flickr.com/photos/radio_d...02890/sizes/l/

I have my doubts. Most radio stations have some sort of banner and logo
that is displayed for any pictures, which I don't see. I also doubt that
the picture was mid 60's because continuous loop tapes were in use in the
early 60's, and there are none to be seen. Finally, all the coffee
suggests that this was a late-night or over-night shift, which WHLO didn't
have.

Dave,


Cart storage: lower left

Cart decks: portions of two showing middle left


That looks like air vents to a reel to reel unit, and the thing that
looks like a cart looks too long to be one. Still, it could be. The
units I remember at WHLO (newer studios in Fairlawn) were to the left of
the console and were a stack of 4 I think. Of course, that was a quick
glance from the late 60's, so I could be wrong.

Oh, and thanks for the analysis David Kaye.

Dave,

WHLO studio picture
 

dave wrote:

That looks like air vents to a reel to reel unit, and the thing that
looks like a cart looks too long to be one. Still, it could be.

I'm looking at a blowup of the photo now. Those are definitely carts with
white labels on them, with some kind of writing on them. At the left on the
label is a red splotch that looks like a logo or maybe a number. To the left
of the label is a patch of blue. In those days Fidelipac carts came in blue.

Also, to the left of the left turntable is clearly a cart with the tape side
turned toward the viewer. Fidelipacs had 3 holes, one for the capstan, one
for the record head, and one for the playback head.

The brushed aluminum chairs definitely look of the era.

The label on the record the DJ is cuing up is Laurie Records of NYC, which was
very big in the late 50s/early 60s, but changed their label by the mid-60s.

WHLO studio picture
 

David Kaye wrote:
dave wrote:

That looks like air vents to a reel to reel unit, and the thing that
looks like a cart looks too long to be one. Still, it could be.

I'm looking at a blowup of the photo now. Those are definitely carts with
white labels on them, with some kind of writing on them. At the left on the
label is a red splotch that looks like a logo or maybe a number. To the left
of the label is a patch of blue. In those days Fidelipac carts came in blue.

Also, to the left of the left turntable is clearly a cart with the tape side
turned toward the viewer. Fidelipacs had 3 holes, one for the capstan, one
for the record head, and one for the playback head.

The brushed aluminum chairs definitely look of the era.

The label on the record the DJ is cuing up is Laurie Records of NYC, which was
very big in the late 50s/early 60s, but changed their label by the mid-60s.


David,

Thanks for the second look. My guess is that you really know your way
around a radio studio! I've enjoyed your insight.

Moving forward a few decades, the radio studio of today is sooo
different. No turntables or cart machines or even notes above the
control board -- just a computer screen. Of course, the other thing
that is (usually) gone is the DJ. Replaced by voice tracking. Isn't
progress wonderful?

Thanks again.

Dave,

WHLO studio picture
 

Dave Boland wrote:

Ah, McRadio. That is why I have a mp3 player -- can't stand radio
today. Thanks to the programmers and Clear Channel. Oh well.

CC just plays what the people want. For many years they operated a
website called the Format Lab, which had a bunch of test formats. Judging by
the length of time a user listened, where they were located, and any other
demographic info they could get, they took listenership into consideration
when deploying new formats on their stations.

Contrary to popular belief, you can't just do a seat of your pants format.
First, too much money is involved; second, it's too easy to alienate an
audience by playing the wrong thing. Thus, the stations that actually have
ratings to all they can to test songs and DJs before putting them into their
programming mix.

WHLO studio picture
 

In article ,
dave wrote:

Moving forward a few decades, the radio studio of today is sooo
different. No turntables or cart machines or even notes above the
control board -- just a computer screen. Of course, the other thing
that is (usually) gone is the DJ. Replaced by voice tracking. Isn't
progress wonderful?

Actually, the tools today are better than they have ever been. What used
to be a mountain of effort to produce has become unbelievably easy and
fast to do. If I do say so myself, one of my stations has probably one
of the most beautiful control rooms in the industry. Indeed, there are
no mountains of cart machines, no turntables taking up countertop space,
and of course no tape recording equipment of any kind. The sight lines
are clean, and the sweeping view of Mt. Diablo from the building's top
floor is breath-taking. It certainly is not the quintessential radio
facility as pictured by an old-timer (such as myself) in radio.


But for all of its traditional-trapping shortcomings, the talent can
simultaneously do production and do a live radio show. It isn't the
voice tracking that is evil (virtually all stations have it, even those
that are "live"); it is simply a tool to increase productivity.

What you are bemoaning should not be the advancements in technology, but
the decline in creativity and the advancement of laziness. I wonder if
part of the charm of "the old days" was the fact that doing *anything*
was a monumental chore. Now that we can do all of that and more in a
walk, no one much cares about doing it at all.

I was musing just today about how easy (and cheap) it is now to do a
full remote broadcast from anywhere in the world, and yet no one seems
to be interested in remotes anymore. [irony on] Too much work, I guess!
[irony off]

--
John Higdon
+1 408 ANdrews 6-4400
AT&T-Free At Last

WHLO studio picture
 

"John Higdon" wrote in message
...

In article ,
dave wrote:

But for all of its traditional-trapping shortcomings, the talent can
simultaneously do production and do a live radio show. It isn't the
voice tracking that is evil (virtually all stations have it, even those
that are "live"); it is simply a tool to increase productivity.

I know of one who does a request show from his home studio via
voice-tracking. The station's request line is forwarded to his house, he
takes and records the calls, cuts and edits the voice tracks, and sends them
via high-speed internet to the station's automation system, which he also
can control remotely, and changes the playlist and inserts the tracks as
needed. The calls and requests are delayed by mere minutes.

In my little part-time-just-for-fun gig, which is always "live," I will
sometimes use voice-tracking to do a complicated bit in a break. That way
there's no danger of "blowing it" live. If I screw up, I just re-do it. I
usually don't work more than about ten minutes ahead. I can also give
myself a lunch break mid-shift, by recording a few tracks.

Today's computerized automation systems not only increase productivity, they
can be used (in the right hands) to increase creativity.

Mark Howell

WHLO studio picture
 

John Higdon wrote:
In article ,
dave wrote:

Moving forward a few decades, the radio studio of today is sooo
different. No turntables or cart machines or even notes above the
control board -- just a computer screen. Of course, the other thing
that is (usually) gone is the DJ. Replaced by voice tracking. Isn't
progress wonderful?

Actually, the tools today are better than they have ever been. What used
to be a mountain of effort to produce has become unbelievably easy and
fast to do. If I do say so myself, one of my stations has probably one
of the most beautiful control rooms in the industry. Indeed, there are
no mountains of cart machines, no turntables taking up countertop space,
and of course no tape recording equipment of any kind. The sight lines
are clean, and the sweeping view of Mt. Diablo from the building's top
floor is breath-taking. It certainly is not the quintessential radio
facility as pictured by an old-timer (such as myself) in radio.


But for all of its traditional-trapping shortcomings, the talent can
simultaneously do production and do a live radio show. It isn't the
voice tracking that is evil (virtually all stations have it, even those
that are "live"); it is simply a tool to increase productivity.

What you are bemoaning should not be the advancements in technology, but
the decline in creativity and the advancement of laziness. I wonder if
part of the charm of "the old days" was the fact that doing *anything*
was a monumental chore. Now that we can do all of that and more in a
walk, no one much cares about doing it at all.

I was musing just today about how easy (and cheap) it is now to do a
full remote broadcast from anywhere in the world, and yet no one seems
to be interested in remotes anymore. [irony on] Too much work, I guess!
[irony off]


Excellent points. Speaking of remotes, most stations use a cell phone.
It is difficult for me to watch a radio personality wait for the
program cue ("...and now, live and remote..."), then they talk into a
cell phone until the automation takes back control. Contrast that to
the 60's when the radio station had a dedicated broadcast line, a Sparta
board, and a live board operator at the station. Yes, it is easier this
way, but TV diners are easier than a good meal too.

By the way, WHLO was one of the kings of remotes. They did a lot of
them in the 60's. Car dealers, restaurants, furniture stores,
exhibitions, amusement park, department stores, etc.

One other point that I'm hearing a lot -- there is no money in radio
unless one is in a major market. Thus, creative people go elsewhere,
and the remote is as cheap as possible. Elaborate jingles -- gone.
News coverage 24/365 -- gone. Good radio personality 24 hrs. -- gone.

Thank goodness for the mp3 player. It is as good as radio is today.

Dave,

WHLO studio picture
 

John Higdon wrote:

I was musing just today about how easy (and cheap) it is now to do a
full remote broadcast from anywhere in the world, and yet no one seems
to be interested in remotes anymore. [irony on] Too much work, I guess!
[irony off]

More than 30 years ago a popular DJ at KNEW did a remote from somewhere, I
forget. I think it was Hillsdale Mall. Anyhow, his setup was (1) mic, (2)
headphones, (3) mixer, (4) button. Wasn't much to look at.

Today I doubt that many advertisers would pay to have remotes, and likely
because with so much stereo and studio equipment in people's homes, there is
no magic in showing off a radio remote. My new housemate has a bigger mixing
board with more channels and more effects than any commercial broadcast
console in existence.

Now, as to the the location advantage, that only really works for interviews,
and few stations but talk stations do interviews much. It'd be good if KGO
got out. Some years back I tried to get KALW interested in siting their
studio in a storefront in a rent/promo exchange. I had a potential landlord
lined up but the KALW people were already destined to locate at the Burton
high school instead.

WHLO studio picture
 

In article ,
dave wrote:

Excellent points. Speaking of remotes, most stations use a cell phone.
It is difficult for me to watch a radio personality wait for the
program cue ("...and now, live and remote..."), then they talk into a
cell phone until the automation takes back control. Contrast that to
the 60's when the radio station had a dedicated broadcast line, a Sparta
board, and a live board operator at the station. Yes, it is easier this
way, but TV diners are easier than a good meal too.

That actually wasn't what I was talking about. I was referring to
remotes with full-fidelity stereo links to the studio, with full
broadcast setups from the remote site. KKIQ periodically does the whole
morning show from Tommy T's in Pleasanton. The setup is scalable to do
that show from anywhere in the world.

Now, instead of ordering broadcast circuits from the east coast or
Europe, or even ISND lines, it can be done over the Internet for
zero-cost per minute.

By the way, WHLO was one of the kings of remotes. They did a lot of
them in the 60's. Car dealers, restaurants, furniture stores,
exhibitions, amusement park, department stores, etc.

KKIQ used to do several "real" remotes a week. That's been cut
considerably, even though today's technology provides quality
unattainable in past years.

One other point that I'm hearing a lot -- there is no money in radio
unless one is in a major market. Thus, creative people go elsewhere,
and the remote is as cheap as possible. Elaborate jingles -- gone.
News coverage 24/365 -- gone. Good radio personality 24 hrs. -- gone.

Yes, that is how the creative-less conglomerates excuse themselves for
only being able to sustain stations in the top ten (maybe top twenty)
markets. I'm at the NAB for the primary purpose to deal with a shopping
list of major equipment for the small stations I work for. They're doing
just fine, thank you very much.

Thank goodness for the mp3 player. It is as good as radio is today.

I have to agree with you. But please remember where the blame lies. We
have financiers, investment brokers, MBAs of every description,
self-proclaimed programming consultants, and private equity companies
controlling the major so-called broadcasting companies these days...not
broadcasters.

--
John Higdon
+1 408 ANdrews 6-4400
AT&T-Free At Last

WHLO studio picture
 

"Mark Howell" wrote:

I know of one who does a request show from his home studio via
voice-tracking. The station's request line is forwarded to his house, he
takes and records the calls, cuts and edits the voice tracks, and sends them
via high-speed internet to the station's automation system, which he also
can control remotely, and changes the playlist and inserts the tracks as
needed. The calls and requests are delayed by mere minutes.

Gosh, this beats Wolfman Jack's days when you didn't hear your request to the
next night at the very same time...

You bring up a fascinating point: Will radio stations become the server farms
of broadcasting? On the weekends, it's not unusual for KGO's "live 'n' local"
talkshows to come from a station with empty studios.

I remember one day when KGO aired Leo Laporte from 11 to 1, Bob Brinker from 1
to 4, Len Tillem from 4 to 7, Karel from 7 to 10, Bill Wattenburg from 10 to
1, and Christine Craft from 1 to 5am -- none in the KGO studios.

WHLO studio picture
 

In article ,
(David Kaye) wrote:

I remember one day when KGO aired Leo Laporte from 11 to 1, Bob Brinker from
1
to 4, Len Tillem from 4 to 7, Karel from 7 to 10, Bill Wattenburg from 10 to
1, and Christine Craft from 1 to 5am -- none in the KGO studios.

This is nothing new. For years, Sunday has been the day when engineers
could get into the studios to work on them. Indeed, back they only had
one studio, Sunday was a lifesaver. Having two studios has taken the
heat off considerably.

--
John Higdon
+1 408 ANdrews 6-4400
AT&T-Free At Last

WHLO studio picture
 

John Higdon wrote:

This is nothing new. For years, Sunday has been the day when engineers
could get into the studios to work on them.

A *real* engineer works nights and weekends, in the rain and sleet and snow
and gloom of night. This daytime work is for sissies.

Indeed, back they only had
one studio, Sunday was a lifesaver. Having two studios has taken the
heat off considerably.

At least KGO works on their equipment. I find it hard to fathom that KNBR,
former NBC West Coast flagship, has audio so bad you have to turn up the
volume to understand what they're saying. Sounds like their high end rolls
off at 1khz.

WHLO studio picture
 

In article ,
David Kaye wrote:
John Higdon wrote:

This is nothing new. For years, Sunday has been the day when engineers
could get into the studios to work on them.

A *real* engineer works nights and weekends, in the rain and sleet and snow
and gloom of night. This daytime work is for sissies.

What makes you think that the Sunday work is *instead* of the other
six days and nights?


Patty

WHLO studio picture
 

In article ,
(David Kaye) wrote:

A *real* engineer works nights and weekends, in the rain and sleet and snow
and gloom of night. This daytime work is for sissies.

With all due respect, that is very easy to say for someone who has not
spent decades walking the walk. Today, there is increasingly more
daytime administration required and it is very difficult to put in a
full-day's work and then stay up all night. I've reached a point that I
cannot do that anymore, and I have so advised my charges that if I have
to work overnight, they will not see me in the studio during the day for
two or three days thereafter.

The pay does not support martyrdom.

At least KGO works on their equipment. I find it hard to fathom that KNBR,
former NBC West Coast flagship, has audio so bad you have to turn up the
volume to understand what they're saying. Sounds like their high end rolls
off at 1khz.

KGO takes its audio very seriously. Unfortunately, there are stations
that don't. Some stations don't even know they sound bad, so it is
unknown whether they would fix the problems or not if they were aware of
them.

--
John Higdon
+1 408 ANdrews 6-4400
AT&T-Free At Last

WHLO studio picture
 

Patty Winter wrote:

What makes you think that the Sunday work is *instead* of the other
six days and nights?

(1) The equipment is too dependable these days to require all that much work.
You have engineers today who service 3 to 5 or more stations whereas there
used to be one engineer per station, who maybe moonlighted at a non-comm.

(2) Stations used to care about making a good presentation, so they wouldn't
allow the station to go off the air between 6am and midnight. Now, they don't
really care, as long as they can get their spotbreaks in when they come back
on.

WHLO studio picture
 

On Wed, 13 Apr 2011 22:25:05 EDT, (David Kaye)
wrote:

I find it hard to fathom that KNBR,
former NBC West Coast flagship, has audio so bad you have to turn up the
volume to understand what they're saying. Sounds like their high end rolls
off at 1khz.

Of course, to paraphrase Prof. Dr. C.T. Yang, he of MIT fame in the
early 1950s - "_THIS_ KNBR not same as _THAT_ KNBR - it only con-fuze
you". Its technical quality really went downhill after Susquehanna
sold it.
--
Phil Kane
Beaverton, OR

WHLO studio picture
 

On 4/17/2011 8:17 PM, Phil Kane wrote:

Of course, to paraphrase Prof. Dr. C.T. Yang, he of MIT fame in the
early 1950s - "_THIS_ KNBR not same as _THAT_ KNBR - it only con-fuze
you". Its technical quality really went downhill after Susquehanna
sold it.

There was a point - maybe about a year ago or so - where the transition
was dramatic. I remember there was speculation that they were getting
ready to turn on HD, and narrowed the bandwidth in preparation. But
that never happened.

Dave B.