What’s up with this an engineer dude (me) talking about career choices?
The popular choices aren’t always the best choices taking everything into consideration, but if you really WANT a certain career, don’t give it up.
I chose broadcasting and specifically radio basically before I was a teenager. I don’t know how much I really wanted it at the time, but it was all I really cared about.
A 6th grade Science teacher in Detroit Public Schools wrote to me: “You will make a fine scientist.” I would never have been prepared for the amount of education becoming a scientist would require. Besides, I didn’t really want to be some geeky guy who did nothing but work in labs all day.
At an early age, I became fascinated with tape recorders and anything that played music.
That obviously leads one into the logical path of what DJ’s do. Along the way, I assembled enough scraps of equipment to make my own DJ tapes, and eventually to actually “broadcast” on radios throughout the house. The technical aspect of that, however, was always a means to an end – at least to me back then.
At the time, AM radio was the most listened-to form. FM was reserved for classical and “beautiful” music and educational purposes. So I taught MYSELF everything one could possibly need to know about AM radio.
Eventually, I actually got paid to work at various AM radio stations. I was in my early 20s. At one point I remember thinking “THIS is what I want to do. If I don’t have any other job for the rest of my life, I will be satisfied.” I actually left college to pursue this life and never looked back.
I was also helping the Chief Engineer repair cart machines and we even installed new consoles. My main job, however, was cutting commercials and hosting a daily show. I should have known then the on-air job wouldn’t last forever. I thought fixing stuff was just something I did so I could actually broadcast (and make a few extra bucks). As it turns out, it would become a lot more important skill than I could have ever imagined.
The story of my life got really twisted after that. There were some tough times that I had to endure, as well as some incredibly great times. But I never lost the notion that I was a “Radio Guy.”
I never went back to college and had no desire to. No one could teach me what I wanted to know. I do admire people who have the patience and fortitude to pursue college degrees, but it was never for me. Maybe it is for you, and if so, go for it.
At Specs Howard, the school is filled with people who live and breathe a lot of the same notions I do. We’ve all “been there” with that dream job and know what it takes first hand to “get there.” Not everyone will make it. Those that do will share that same burning desire – that zest – to succeed at what they love doing.
Lesson learned from all this (I guess) if you want something bad enough, focus on it and don’t let go of it. If all you can think of is excuses why you CAN’T pursue your dream, then you really don’t want it that bad.
-Bob Burnham
The tired old Mackie mixers that were in Specs Howard’s Production studio are (as Ernie Harwell would say) LOOOOOOONG gone! So are the well-worn countertops, carpeting and off-white paint. They are gone forever!
In place now is custom-designed broadcast furniture featuring some serious audio consoles for radio, new microphones, new equipment and yes, a completely new wiring job by yours truly.
The project has actually been in the planning stage for years, but this year, we really got serious about it! It looks and sounds totally cool and it also rivals some stations in town here in the Detroit area.
There are in fact, TWO audio consoles, two Enco DAD Workstations (with Adobe Audition editors) and a couple of new rack pods loaded with some familar equipment so we can continue to bridge the past with the present.
Also being renovated at this very moment are the Newsroom right next door and one of the on-campus radio stations.
None of this happened by accident. As mentioned, lot of planning went into the project. Tom Profit (who I’m sure you all know!), Rod Graham of "Graham Studios" along with myself were all involved in the planning process, along with some of our other equipment suppliers earlier in the year. As far as wiring, yes, I did all that part of the "grunt work" myself.
At this exact moment, I don’t have ALL the finer details in place yet, but if some (or two) wanted to cut a spot in there tomorrow, they could do it.
Let me tell you, there were various unexpected delays mostly beyond my control, and many minor technical problems I had to solve as we put the studio together. I wished it could have been smoother and faster like our 21 "practice studios," but THIS STUDIO is totally unique! There is not another one like it anywhere.
While we’re dropping names, I want to thank our newly appointed Radio Department Supervisor, Sue Kinney and the entire Radio/Audio Department for their incredible patience during this delayed project! These people are among the best I have ever worked with anywhere. And one (or maybe two) more names: Beloved, long-time radio Instructor, Bob Palmateer is back teaching at Specs Howard on a full time basis! I know a lot of grads thought highly of him as did I. Also, Krystle Klein has left us for now for some additional schooling, but she enjoyed a real love-fest for a few years with a number of the classes she taught. Good luck to her!
This all relates to what I do for the school, especially now with a pretty intense amount of work I’m facing right now. Without the support of everyone starting with Mr. Howard right down to our maintenance man, I would not be in a very good frame of mind to do both the quantity and the quality of work I do. Thanks everyone!
-Bob Burnham
I don’t normally write about my “old time” radio interests.
That’s primarily because most people don’t care, don’t understand or will think I am even more of a curmudgeonly goon than they originally thought! LOL.
But I can tell you more specific details about what was aired (and on what kind of equipment) during the first 50 years of broadcast. Now… I don’t know EVERY thing because I don’t specialize, but as far as generalized knowledge, I have come in contact with quite a few bits and pieces of knowledge.
My “teachers” were thousands of hours of tapes, and a collection of discarded broadcast equipment along with working for or with many people who know more than me because they worked in radio and maybe were born before me.
Each year, I try to attend two conventions devoted to “old time” programming. Most of the shows we’re talking about were heard before television. Most of the people preserving them today are either middle-aged or slipping into senior citizenry.
I actually started a business in high school (and don’t ask how far back that was) with a mail order catalog of old-time radio tapes. The conventions allowed me to meet not only the people who ordered my material, but to meet some of the voices while they were still alive.
This all ties in with my concurrent career in TODAYS’ radio primarily as a broadcast engineer. One of my specialties is audio: Making today’s’ stations sound great as well as restoring OLD audio.
I have been playing with “magic” audio boxes a long time, and when everything started moving to computers I moved with it.
At Specs Howard School, I am the “Adobe Audition” guy when a student runs into a particularly difficult problem or wants to do something more advanced.
I began using this program before it was an Adobe product: Cool Edit Pro was its name at that time.
Much of my experience comes from producing programming for syndication clients (which I used to do a few years ago), but especially from restoring old time audio and the foundation I have playing with big expensive processors at radio stations.
I was also Production Director long long ago and knew razor blade editing on reel to reel tape as well.
When I attend these “old time” conventions, I operate a booth offering a very large number of shows on CD restored and cleaned by me using tried and true methods.
Today, the mainstay of these events are people offering ultra-low sample rate MP3 recordings (40-50 hours on a CD). I am one of the few hold-outs from the cassette and reel to reel era offering high quality standard CD’s.
It is gratifying to be supported so strongly in the year 2008 by people who appreciate what I do. But at these events. we all wear the same old time radio “geek” hat during these events.
We’re all equal, though most of us have specialities.
In my case, though not always possible, I try to make the programming that aired long before I was born sound like it was aired yesterday. Hopefully, this will encourage future generations to realize it is something worth saving after all.
The 33rd annual Friends of old time radio convention is October 23-26, 2008 in Newark NJ. Complete information can be found at www.fotr.net
-Bob Burnham
Greetings again!
So where is it? The studio upgrades at Specs Howard that is.
There was a delay on the part of the folks designing the furniture, but some of it has already been delivered.
Look for stuff to be up and running before the end of the summer. No kiddin’ !
Meantime, one of Specs’ stations, WSHS, has changed to a classic rock format. Wow! This is a return to a format that was originally set up almost a decade ago when the DAD “Enco” computer-based automation system was brand new at the school. Except A LOT of new material has been added. Stay tuned.
-Bob B
An update from Specs Howard School of Broadcast, in Southfield, MI.
For those of you who are or were students or work at the school now or in the past (or thinking of becoming a student) the audio Production studio is on the verge of being blown up and rebuilt THIS MONTH!
Most of the new equipment has already been received. The Newsroom and one of the radio stations is also getting the same treatment. The ultra cool furniture designs have been completely customized to our needs. Rod Graham (formerly of Arrakis Systems now of Graham Studios in Colorado) played a crucial role in transforming the former video suites into additional RADIO studios (studios 16-21). Rod's new assignment was to furnish our Production, News and radio station studio.
Noting how much of his furniture was already in our building, Rod noted he wanted to make our school a "showplace," and upgraded the WJMZ studio to his top-of-line product... at no additional cost. Thanks Rod! Get a look at Rod's other studios at:
www.graham-studios.com/
(make sure you put the dash in the middle)
This month (June 2008) also marks my NINTH (9th) year as the school’s Engineer! I still know where the time has gone and still don’t believe the mind-numbing number changes that have made during that time.
It’s not a perfect world either but an important reason to be a student at Specs is not merely because of shiny equipment. It’s the people involved in teaching at our school. They ARE the best....every one of them.
Only one job in my life have I ever worked at longer than Specs. That would be radio station WCAR in Garden City, Michigan, but I really didn’t make it past my 10th year there. Like Specs however, for me it was an incredible ride! The VERY wide number of things I did for THEM as their Chief Engineer was secondary to what inspired me. The other part is the people who showed up for work everyday who created programming, managed the business end and made our clients happy. They gave me the incentive to stick around. We weren't the biggest, we didn't have the most power, but our clients stuck with us, because we were the best. Some things never change in my life.
So come to Specs Howard School of Broadcast Arts, because we ARE in every sense of the word, in the present tense: We ARE the best at what we do.
-Bob Burnham
“Why am I torturing myself with this?”
Sometimes you have to ask yourself that question. But then there are instances when there’s a bright moment and you realize you are being “rewarded” in a sense for all the trials and tribulations.
You realize how important all that hard work was. For me, it’s often an exercise in patience…with both myself and others.
In a music situation “Why can’t I (or whomever) play that song perfect RIGHT NOW!?”
Additionally, my version of “perfect” may be different from what someone elses version may be.
As a musician who plays music other people have written, like it or not, performing their work is usually a creative form. It is interpreting their song – not duplicating it.
Playing a $100 a-person bar gig, we cannot hope to re-capture that moment in the studio when a producer worked intensely with the talent to put them in the right frame of mind in order to deliver that performance. Given their level of talent, background, technical skills, inspiration, equipment and the fact no two humans are alike – it’s not completely impossible but downright difficult to “clone” their song from their record. And what’s the point anyway?
If the bar owner really wanted a cover band to sound EXACTLY like the record, why not just get the CD and play it!? For that matter, the bar owner merely needs a bunch of plasma TV’s, a DVD player and start building a collection of concert footage of the original artists…. rather that hire a band.
Best Buy has a nice collection of live music DVDs. Shhhhhhhhh. Don’t tell them. We may be outta work for real then.
-Bob
Don Phillips and Nicole Salem
By Bob Burnham
Don and in a different situations, Nicole were at one time regulars on the radio who made me laugh. They are both at least for the moment, “out” of radio. That’s about all they have in common and they are already missed.
Salem did traffic on the Deminski and Doyle show on 97.1 which saw its demise (at least for now) at the end of 2007.
Phillips was a long-time (over 20 years) overnight fixture at WOMC, 104.3. These were both CBS stations, but that really makes no difference.
Don had some health issues he was trying to resolve, but was let go by the station in this month (April 2007). Don graduated from Specs Howard in the 1970s and was lucky enough to be hired by the late Paul Christy at WCAR-FM, who gave him his first big break.
Salem arrived at WKRK as an intern, but soon landed in “the other building” as traffic girl for her paid gig. Obviously, she graduated from Specs much more recently.
I cannot fault anyone in the decision process which ended their respective tenures. As they say, “these things happen.”
Salem recently called in to Gregg Henson’s internet radio show on Blog Talk Radio basically to say “hi.” She had an incredible upbeat attitude. Henson knew her as an intern and made references about how her career had blossomed since then.
“I guess I just grew up!” she said, and spoke fondly of the years she spent working with Deminski and Doyle. “It was the best job I ever had,” she said.
No one who made daily appearances on Jeff and Bill’s show (AKA “D and D”) could ever escape becoming an on-air “regular” that listeners would get to know. Nicole was no exception. Though frequently the target of their jokes, she was an active participant in many of their most memorable on-air antics. Like the rest of the “cast”, on the show Salem developed her own fans as well. D & D made her a part of the show, but her persona was completely her own. She is unique, talented and will go as far as she wants, what ever her next chapter will be. You can be sure she will kick some serious butt!
I have a different feeling toward Don Phillips. He and I go back many years as far back as the disco era as a personal friend.
Growing up in Garden City, Michigan, Don and I were involved in a short-lived broadcast program at the Livonia YMCA as well as other projects.
Don and I would later work together at Southfield’s WSHJ-FM working under Bob Sneddon, who gave Don the Program Director position. I was basically an overnight jock there, who by day, worked at AM radio stations.
Don’s paying gig was spinning disco tunes at “The Connection” in Flatrock. I filled in for him a few times, but he was the best at what he did there, too.
Sneddon (at WSHJ) hooked Don up with a gig at the original WDRQ, and me doing middays at WBRB-AM, but we still worked on projects. Don was always the “talent” and I was always the “engineer.” My job was to make him sound good, but I never had to work very hard.
I always say I’ve been lucky because I have worked with the best in the business, and Don Phillips is certainly among them.
The reason all of us do radio is because it is so much fun! But the part that makes it fun is the people. Good radio cannot exist without good people.
During career burps, the best people ALWAYS land on top. While Salem and Phillips are two completely unrelated people from wildly different walks of life and generations, they are both at the top of their game in what they do.
And to think they both spent time at Specs Howard…. What’s up with that!?
Best wishes Nicole Salem and Don Phillips! You both rock.
And speaking or ROCK, Nicole is currently in the WRIF Rock Girl 2008 competition. If you read this in time, check out her video and give her your vote!
http://www.wrif.com/rockgirl2008/girls/Nicole/
To hear “Gregg and Victor” check out:
http://bannedinternetradio.com/
Or his blog at
www.gregghenson.com
Surviving formats and ownership changes
By Bob Burnham
As Jack Webb of 1950s "Dragnet" would say, "the story you're about to read is true..."
however, the names were NOT changed!
I spent a good chunk of my career at WCAR Radio, a directional AM station in Garden City, Michigan. It was licensed “Livonia-Detroit” presumably because its signal blanketed the Detroit suburb of Livonia both day and night.
Historically, at 1090 AM – it was the sister to WBRB in Mt. Clemens (where I also worked). The original letters were WERB, then WTAK, the first all-talk station in the Detroit area. The next set of call letters were WIID. When Golden West (Gene Autry) purchased the original WCAR (1130 AM) it became WCXI and switched to a country format.
The original WCAR call letters were freed up. WIID switched to WCAR.
In 1979, the station (now WCAR) acquired its 24-hour license (daytime only before then) and added six more towers to the four it already had. The owner, Walter Wolpin, hired former WWJ-AM and WAAM-AM salesman, Jack Bailey to manage the operation. The station was under Bailey’s direction for most of the years I was at the station.
In the late 1990s, Wolpin sold the station to the Children’s Broadcasting Corporation, also known as “Radio Aahs,” a satellite-fed syndicated format originating from Minneapolis. Most of the existing staff supporting the combination talk, brokered and ethnic shows had to be, as they say, “let go.”
“Radio Aahs” was similar in format to today’s Radio Disney, targeting younger listeners. A failed partnership between Disney and Aahs, however, was the start of the downfall of this owner.
WCAR was eventually sold in the late 1990s. At that time, Jack Bailey resigned and long-time employee and current Program Director, Susan McGraw assumed the GM role. McGraw and I were soon the only surviving employees from the original staff.
A failed first attempt to sell the station gave us an extra year of employment. I can’t imagine what we filled our hours with during that period. I do recall many trips to a nearby restaurant where traditionally we took staff as their “goodbye meal.”
By then, I had installed equipment that allowed the engineer to monitor the stations’ ten towers and transmitter from a home computer. The station was now fully equipped for unattended operation and automatically changed directional patterns and power at sunrise and sunset. A computer handled all programming elements as well.
We had returned partially to the brokered format obviously because it generated revenue to keep us employed. Most of our best clients, however, had already gone to WPON, WNZK or the re-named WLLZ-AM (560 AM which had been WHND).
So what DID we fill those hours with?
No, it WASN'T the Susan and Bob show 24 hours!
We broadcast a satellite-fed format from the original Children’s Broadcast Corporation studio in Minneapolis. It was called “Beat Radio.” I had thought disco was already long dead by then (especially on an AM station!), but these people didn't think so, apparently.
"Beat Radio” was produced by a group of former pirate operators in Minneapolis, presumably because they could finally have an audience legally. At the same time, Children’s Broadcasting had someone who would work for free to keep their remaining stations operating while they looked for buyers. “Beat Radio” obviously ceased to exist once all the stations were sold.
That year – 1998 – is mostly a blur. By then, I had a few other major projects already underway including a syndication facility only a mile from WCAR.
Children’s Broadcasting would continue to fight Disney in the courtroom.
It was clear that Christopher Dahl, Children’s President, was the inspiration for the Radio Disney format, but in running his business, Mr. Dahl had made some poor choices in my opinion, on the stations he chose to affiliate.
The format was a hard sell, so the solution was to BUY stations in cities he chose to affiliate. That was how he acquired WCAR – our station. I call it “our” station because that’s the way it felt for many of those years.
While McGraw literally worked her way up at the station starting originally while still a high school student, I started a little differently. I began hosting a show for WCAR called “Radio Vault” in 1988. Having developed a relationship with the General Manager, about a year and a half later, I became their Chief Engineer.
I replaced Chris Arnaut who stayed only briefly having replaced Mike Numerick. Mike had been with WCAR for several years, replacing Don Oswalt. Mike went to WXYT, and Chris went to WKSG-FM. I stayed with WCAR through December of 1998. At that time, I assumed the Chief Engineer position for the four Cumulus stations in Ann Arbor and one in Monroe, Michigan.
And that’s not all --
During my stay at WCAR, a severe storm took down one of our nighttime towers. Replacing that tower and actually coaxing it into working properly took a full year of work and compilation of data to be submitted to the FCC. This was greatly complicated by cellular structures that were being erected within walking distance WCAR’s tower site. Most of the actual “grunt work” under which WCAR was re-licensed was done either by me personally or a crew under my direction. This eventually involved measuring literally hundreds of locations in the Detroit area to prove the station was operating according to its license…and repeating it all over again when the cellular construction contaminated my work!
In a separate adventure, to further reduce operating costs, I obtained proper FAA approval and re-licensing from the FCC to allow WCAR to extinguish (as in permanently turn off) three of its six nighttime towers lights. Up until then, six towers had been required to be lit since 1979. If you drive by the site today, the same three towers (out of ten) are the same ones designated by me that are lit at night.
From the WCAR years, there are many stories like these and many accomplishments. It was not a perfect place, but it was a great place to call “home” for so many of those years with a staff that felt like a family. The best part was those friendships and the very diverse range of people I worked with whom are the very lifeblood of any great radio station.
WCAR is still in operation today with the same call letters. It is now programmed by Michigan Catholic Radio.
Surviving the Tax Man
George Harrison wrote and sang about the Tax Man, I live it.
The wild and wacky life I lead comes at a price.
Every year at this time I go through a ritual of doing tax prep for my Accountant.
But mine isn’t like "normal" people (whatever that is) because radio and its related things I do to survive make for mountains of paperwork.
Once I get past this week though, I promise I’ll have some fresh tales to tell.
Meantime, if you wanna tap into some OLD radio in the Detroit area or listen on their web stream, WHFR 89.3 from Henry Ford Community College is carrying my stuff Monday nights from 11:00 to midnight. Mystery and horror are featured…everything from Suspense to Inner Sanctum to I Love a Mystery. Check it out. On the web, it’s www.whfr.com. WHFR also does a great job giving an outlet to local Detroit musicians.
Bob
"Bob Radio" gearing toward a launch sometime this year...
Projects help keep your mind from being bogged down with the multiple irritating distractions (of which I also have way more than my share this year). I have an opinion about most things controversial but if I shared them here, this blog would be bogged down with negativity. That’s not my nature and it’s not what these commentaries are all about either.
One of my projects finally begun this year has been building “Bob Radio.” I’m not referring to physical construction, but rather an assembly of resources that I have from both the recent and distant past.
An entire radio station can be produced and hosted on a single computer. For example, those commercials you see for “Doug FM” – they’re nothing more than a computer running broadcast software. The software is cheaper than filling a studio with people… or even having a studio. In these desperate economical times, it helps the bottom line. It does NOT help radio in my opinion, and it certainly does nothing for the creative talent who once occupied a studio where that computer sits. The whole philosophy of letting accountants manage a radio station, in fact, led to what my life is all about today.
The first phase of my “on-air” career ended long ago when I was replaced by an out-of-town talk show host. Then at another station, I was replaced by satellite-fed programming. It’s a common tale, but I was NOT done with radio. Far from it.
I evolved into a techie person, which I always was to a degree anyway.
Starting out originally, I was going to be on the air, no matter what it took. So if someone wasn’t going to hire me, I’d build it myself! Literally that is what I did and that is how I started right after high school. It was the “Bob School of Broadcast Arts,” where I taught myself everything…. And I do mean EVERYTHING.
My “teachers” were simply listening to guys like Dick Purtan then on WXYZ, Bill Bailey and China Jones on the original WDRQ, and Gary Burbank and Ted Richards on CKLW. Even “Foodey” Rome on WGPR was a huge influence.
A friend and I would spent hours making tapes “broadcasting” into a little 2-tube Lafayette Radio “broadcaster” that covered the backyard. The U.S. government, however, frowns on individuals doing such things on traditional FM or AM bands without a license. Today, that doesn’t make much difference because the listeners are actually gradually moving away from traditional radio and hooking up with computers, podcasts and live streaming.
It took a long time before “Internet radio” could be taken seriously. Basically technology and the world had to catch up. At the same time, traditional radio stations slowly degraded their program quality in the interest of the bottom line. Many of the truly talented creative types who were in radio in years past gradually became too expensive. Very few people that I worked for or with when I was still on the air full time are still in radio of any form.
Radio “as we know it” is far from dead today! But it is on life support.
In the meantime, if you can’t beat ‘em, obviously, we can always “join ‘em.”
But how to start? Well, I still have a huge carted library of music that I built myself back in the 1980s and ‘90s, plus hundreds (or maybe thousands) of CD’s. They just need to be loaded to a hard drive.
To a degree, I already put Motor City Casino’s “Radio Bar” on the Internet. I can tell you from personal experience it’s MUCH easier than putting an AM or FM station on the air (I’ve done that for other people too… legally!).
When I first arrived at Specs Howard, my first mission was to load the first library of one of the schools stations’ – WSHS -- into a new Enco Digital Audio Delivery system. 600 songs later, we had a radio station that was fully hard drive-based and I even did 99% of the work myself back then. So I have that behind me as well.
But the reality is anybody can do it: That is put an internet radio station “on the air” from their basement. But it will SOUND like a “basement” station without the type of background only “real” radio can give. Maybe that explains part of the success of “Doug FM” – which is nothing more than a giant Ipod that mixes commercials with songs.
I am an audio fanatic and always have been. Pulling out old carts that I had painstakingly recorded a full 20 years in the past was an experience. Many of the carts I had even loaded the tape myself, replaced pads and parts, etc. How can ANALOG TAPE possibly sound good recorded in an obsolete format and be expected to sound good transferred to a digital system? Well, it sounds great!
Painstakingly cleaning the heads of my equipment every few songs, using the same equipment I still had (that was used for recording), the sound, for the most part, was astonishing. I wouldn’t say I have a “laboratory grade” situation, but many of those songs which may have only existed on a 45 rpm vinyl record are now part of the future
“Bob Radio.” And by the way, it’s NOT going to be called “Bob Radio.”
Remember too, I’m NOT just a techie. I’m a programming guy, too.
While doing some research for a separate project, I stumbled on the website and the internet radio station of a fellow Radio Guide writer, Cornelius Gould.
Through Mr. Gould’s series of Radio Guide articles about audio processing, I learned more about processing for radio and its history than I had accumulated in a lifetime.
www.radio-guide.com
The real key to processing, however, is LISTENING. There are many different approaches one can take to getting a Great Air Sound. Corny had also figured out how to achieve that over his internet operation.
Hear it for yourself: www.legatocafe.net/
In the 1970s, it was Ed Buterbaugh and the CKLW-AM “sound.” It didn’t matter how he did it: Whether it was a couple of finely tweaked Gregg Labs boxes, no one in the Detroit market could touch their sound back then. Tapes that I recorded back then today reveal that their air sound even TODAY would qualify as the best on AM. People just don’t pay as much attention to air sound today. Engineers simply don’t have time because today they’re taking care of eight rather than 1-2 stations. They may actually be happy when one of their stations becomes a stand-alone computer: No more light bulbs to replace on that tired old studio console!
As far as sound, today, there’s a few legendary audio names we could mention. Mr. Orban of “Optimod” fame and Frank Foti as well are two obvious ones, but Cornelius Gould is right up there as well. These guys actually make it easy today to achieve CKLW’s air sound of the past. That is, if only someone in engineering would or could take the time to listen.
For me, I need a model from which I can build. I have all the programming elements already in my mind. I just need to get the proverbial “Technical Ducks” in a row.
Even if people say “Hey, your Radio Bar stream sounds pretty good from the casino.” Well, it’s not good enough for me! Maybe it could never be good enough because there were so many things out of my control at that facility.
Judge for yourself. You’ll hear Specs grads “doing their thing” in somewhat of a club atmosphere surrounded by games of chance. It's a cool thing, nonetheless:
www.motorcitycasino.com/MediaPlayer.aspx
As for “Bob Radio” (again, I’m not going to call it that!), it’s a few months away from launch, but it is one of my current pet projects, one of which will help preserve my sanity during an insane time!
You’ll hear about it here.
-Bob
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