KTSC-FM was granted relicense in April of 2005 and the department shifted its focus on a move to the Buell Communications Center (BCC), which housed the offices of a Rocky Mountain PBS affiliate, a 2,500 square foot TV studio, four production suites, a student PC lab and a couple of classrooms. By 2009 campus administration had approved the move and a facilities facelift to accommodate MCCNM and several new admissions offices that would be housed in BCC as well.
Tayler Zinanti broadcasts afternoon drive from the main studio.
The department allocated roughly $80,000 to pay for Rev 89's new studios, the iMac lab, software updates, new video cameras and lighting kits, and the server/network. Specifically, the FM rebuild budget came in around $15,000; MCCNM needed affordability and durability in their choices.
Faculty and staff attended the 2010 NAB Show to finalize decisions about studio furniture and multiple equipment improvements for both audio and video. Ultimately, they settled on Arrakis for the majority of the Rev 89 upgrades. The company's consoles coupled with its Gemini/Digilink automation system had helped transform the station in the 1990s. KTSC-FM Station Manager Mike Atencio noted that Arrakis' proximity to Pueblo was part of the decision.
Revolution staffer Javier Banuelos edits a promo in the production room.
Chief Engineer Dan Thomas looked at the studio project from several perspectives. First, he wanted reliability and equipment the students would probably face in the industry. Second, with the studios moving into a highly visible area they needed to look professional and inviting to prospective students. Lastly, the tight budget and state regulations were an important consideration.
Atencio and Thomas chose the ARC-15 for the main studio and the ARC-10BP for production. KTSC-FM staffers needed at least four microphone channels and 10 source channels in the main studio to handle the station's I/O needs. They considered the PC soundcard channel for audio playback and record a definite plus; the telephone interface and cue system were more than adequate.
The 10-channel production console was ideal because it allowed Rev 89 staffers to connect multiple audio sources to be seen on real VU meters. The console also suited the needs of RMPBS producers building soundtracks or laying down voiceovers, as the production room is shared by both MCCNM and the affiliate.
The Arrakis Balanced U seemed like a fitting choice to support the ARC-15, microphone booms, an audio editor, a couple of PC monitors, and KTSC-FM's various rack mount units. Staffers wanted furniture that could comfortably accommodate three announcers and a board operator. Atencio admits the Balanced U was a bit outside the budget, but after seeing it on the exhibit floor at NAB they were sold.
The department picked the Omnirax FRC36MAF to house the production studio equipment. It was an affordable, capable furniture choice considering the surface could double as an inviting video editing suite if needed.
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