Motorola Gets BYTE Magazine Best Technology Award for Speech Recognition

Las Vegas, NV. Every year at COMDEX, BYTE Magazine distributes its “Best of Show” awards. These recognize new products and technologies that are innovative and will have a large impact on the industry. The awards are co-sponsored by SOFTBANK, the COMDEX hosting organization.

For this year’s round, with COMDEX wrapping up in Las Vegas today, the prestigious Best Technology award went to an audio processing technology. The Lexicus Division of Motorola, won the award for the Mandarin Chinese version of its speech recognition algorithms.

Lexicus edged out a couple of very high-profile runners-up: Microsoft’s Windows CE operating system (for handheld computers), and Digital Versatile Disc (Toshiba, Sony, Philips, Pioneer et.al.), the fast-rising star of mass multimedia storage for consumer applications.

The Lexicus software runs on several DSP platforms, including Motorola’s own 56000 DSP series and Motorola MemOS, ARM microprocessors, Windows ’95, and Microware. It delivers continuous voice dictation for people speaking Mandarin. Motorola positions the technology for applications such as car phones home portable phones and answering machines, low cost toys and video games.

Harrison’s TV950 Making Inroads at Major Broadcast Studios

Nashville, TN: The TV950 on-air console, introduced by Harrison by GLW at April’s NAB National Convention in Las Vegas, has been selected for a couple of high-profile installations in Belgium and the U.S.

Harrison has shipped a 52-wide TV950 to the Belgian Radio and Television Network (BRTN). It will be installed in a new BRTN mobile unit for use in live broadcast feeds. The console is configured with 30 mono mic/line inputs, 6 stereo inputs and 6 group modules. Along with standard assignable fader start logic and two program masters, this TV950 is equipped with a 24 multitrack busing on all inputs, groups and master modules, for multitrack output level control.

In the U.S., A.H. Belo Corporation has ordered a TV950 for its new Washington, D.C. bureau. This is a smaller configuration, with with 6 mono mic/line inputs, 6 stereo line inputs and 4 stereo groups, all equipped with mix-minus feed modules and standard assignable fader start logic. The master section contains 2 program masters, monitor module, dual studio module and a master communications module.

According to Dave Hunn, Chief Engineer of Belo’s flagship station, WFAA Dallas: “We chose the TV950 for its flexibility and very complete IFB/mix-minus system, which will meet most any ‘live shot’ situation or production setup. This, combined with the quality and reliability of the Harrison products already in use at other Belo stations made the choice easy.”

The new Washington bureau will provide news facilities for the A.H. Belo Corporation-owned television stations and newspapers. Broadcast facilities will include five edit suites, a production control room and fully-equipped studio. Planned uses include multiple simultaneous live feeds and pre-produced shows which will be shared by all Belo stations.

The TV950 is designed specifically for television broadcast applications. It received an Editor’s Pick of the Show award from Television Broadcast Magazine at the NAB Convention where it was introduced in April (1996). Its available features include assignable machine logic, three mix-minus options, either 4 or 8 stereo buss groups, mono or stereo input modules, control room/studio/comm module with tallys and automated router interface, and LCRS panning for surround applications. Frame sizes may be configured for up to 64 positions, in virtually any combination of stereo or mono inputs, groups, communications and program modules. Pricing begins in the $40,000 (U.S.) range.

Grammy’s Move to Madison Square Garden: DeGeneres to Host

New York, NY. In a press conference Monday, Michael Greene, President of the National Academy of Recording Arts and Sciences (NARAS) announced that the music and audio industry’s premiere annual awards ceremony has outgrown its traditional venues.

The 1997 Grammy’s will be presented at New York’s 12,000-capacity Madison Square Garden. For the last twenty years, the show alternated between the 6,000-seat Radio City Music Hall in Manhattan and the 6,300-seat Shrine Auditorium in Los Angeles.

In addition to doubling attendance, the larger venue will also mean more music and less “mindless jibber-jabber” from musicians, Greene said. “Madison Square Garden is the perfect venue for us to try out this new concept.” In spite of the increased capacity, Greene said he would still expect to see mostly music business insiders to be in the audience, though some tickets will be available to the public.

The last time the Grammy’s were in New York was 1994. Mayor Rudolph Giuliani attended the conference, and Greene presented a special custom Gibson Yankee pinstriped guitar to him as a thank you for welcoming the show back to New York City.

The 1997 show takes place on February 26. It will be hosted for the second straight year by comedian Ellen DeGeneres, star of the ABC sitcom “Ellen.” The press conference gave her yet another opportunity to quip about her show’s cliffhanger question, whether her character will reveal her lesbian self. “I will be coming out. . . to New York to host the Grammys,” she said in a pre-taped message.

NARAS also announced the renewal of its contract with CBS as exclusive broadcast outlet for the Grammy’s. CBS has been carrying the awards live annually since 1973. The new five-year contract is a feather in the cap for CBS, which has been taking a beating in audience ratings until recently. Greene said that if CBS hadn’t turned things around, the Grammy’s would have moved to another network.

CBS President Leslie Moonves, the engineer of the network’s rejuvenation, was on hand for the announcement. He would not disclose terms of the deal, but he commented that “it’s going to be the best concert of the season.” The telecast is watched by 1.5 billion viewers worldwide.

Poland’s Media & Music Radio Conference Opens in Warsaw

Warsaw, Poland. The Polish radio industry’s major annual gathering opens its doors tomorrow in Warsaw. The event is organized by the European radio industry magazine Media & Music (based in The Netherlands).

This year’s Media & Music Radio Conference runs for two days, Oct.22-23. It’s expected to attract more than 350 audio and radio industry professionals from across Poland, representing the nation’s 130 public and private radio stations, as well as exhibitors and presenters from France, the U.K., and U.S.A. They will be treated to an extensive program of technical and radio management presentations, as well as an active exhibit floor.

Highlights on opening day, Tuesday, include technical sessions on Digital Audio Broadcast in Poland, ISDN codecs (presented by Polish pro audio distributor ZEP), Radio and the Internet (Richard Ducey of the National Association of Broadcasters U.S.), and a presentation on wireless mics for reporters (AKG). AKG will also host the presentation of the AKG Golden Microphone Award (co-sponsored with Polish pro audio distributor Audiofan) to one of Poland’s top radio personalities.

On Wednesday, the show offers technical sessions on radio station automation (RCS Europe), MPEG audio compression (Telos), the Sky Radio satellite delivery network, and a presentation by Sony Broadcast & Professional on “Present and Future Technologies in Radio Broadcasting.”

The show will wrap up on Wednesday evening with more awards. Sony Broadcast & Professional presents the Sound of the Station Award, an interesting competition in which all Polish radio stations are invited to create a 90-second spot containing the essence of the station. Spots from eight finalists will be played during lunch on Wednesday, and all in attendance are entitled to vote. Last year, Radio Plus of Gdansk won the aware.

The Best Product Award is also a participation event. The exhibitor winning the most votes from attendees receives the award, sponsored by Polskie Radio Program 3, NAB and Dragan Produkties. And one lucky voter will win a draw prize of a trip to the NAB Seminar in Rome in November.

Electric Works Introduces Digital Cart Machine

Los Angeles, CA. Electric Works Corp. is introducing what it describes as the first professional digital cart machine at WME. The AXS™ PRO CART is software that replaces obsolete audio cart machines or earlier generation digital audio equipment in the broadcast Control room.

The software provides simultaneous operation of all the user tools including log play, instant play buttons, a cart stack and an instant record mode for phone calls or other quick recording. Up to eight audio sources may air simultaneously each with its own fader on screen. In addition, AXS PRO CART includes a complete digital audio production room and a multi-clip digital audio editor (Lazer Blade™).

The main interface window of Electric Works AXS™ PRO CART

“AXS PRO CART has a number of unique features, including total simultaneous operation of all functions without switching screens,” says Electric Works President Pete Charlton. “This includes the instant SoundStream recorder and all the playback functions with up to eight stereo audio sources on the air simultaneously.”

Electric Works supplies AXS PRO CART in a software-only version that works with customer-supplied audio cards; and as a packaged system with Electric Works’ own professional spec MPEG/WAV audio cards for Windows ’95 computers. The software alone lists at $1,000 (US), and the software/hardware package goes for $2,000 (US).