Barix manufactures TCP/IP-based network amplified audio products that can be used within local area networks and over the Internet.
Starting in February 2006, Soundexchange began auditing 11 of the most popular Internet radio websites.
A new proceeding has begun to set the music copyright royalty fees that stations streaming on the Internet will pay to record companies and recording artists for 2006-2010. While the new fees are not likely to be finalized until late in 2006, they will apply retroactively to Jan. 1, 2006.
Take control of your Internet presence and run your own streaming media show.
But how do Google searches and Itunes translate into advertising revenue?
IBOC may or may not be the perfect solution, but with every other form of audio entertainment media moving to enhanced features and capabilities, terrestrial radio runs the risk of being left behind.
Orban's Optimod-PC 1100 isn't a conventional FM or AM final processor.
A look back at the Philips DCC, an increase in high-speed Internet access, and 10 Years of Radio looks back at the IBOC tests of 1994.
Until recently, broadcasting the same program material over the Internet was basically free. This changed in 2002, and it's going to cost you.
Many years ago, capturing and encoding was a tedious process. Nowadays it's almost as easy as point, click and leave.
The PC turns 21 | The Ramko Phasemaster | Trends in Webcasting
Many elements can be part of a good website, but there are some elusive traits that can transform a good website into a great website.
What does the radio industry think about the recent CARP rates? Read it all at BE Radio.
While creating a station website is a simple proposition, making a successful website, one that extends the station's goals and makes money is a bit more challenging.
Far from being complex and difficult, the process of webcasting is similar to traditional broadcasting models. It allows you to reach your audience at times you may not have reached them before.
Internet-audio streaming is evolving disparately from the traditional radio broadcast model as computer-domain opportunities increase.
A discussion of the the Digital Performance Right in Sound Recordings Act of 1995 (DPRA) and the Digital Millennium Copyright Act of 1998 (DMCA).
It is generally advisable to use a separate processor when setting up an Internet stream for the purpose of re-broadcasting your station over the Internet.
Devices that use some type of perceptual audio encoder have become ubiquitous in radio and TV broadcasting, as well as in recording and production studios.
What's behind the claims of costs of the DMCA, the RIAA and AFTRA.
As online listening increases and costs follow, the decision to stream is no longer simple. After all, streaming is very different from the traditional broadcast model.
The question of "How can I make money Webcasting?" has taken on the new twist of "How can I afford it?" Ad insertion systems, which were originally an evolutionary step toward creating new revenue sources, are now in the spotlight as a means to manage these new fees.
Webcasters that survived the Copyright Office's December royalty decision have been dealt another nearly fatal blow.
Making money online is possible by using the complimentary aspects of the website and radio.
We all know that habits change. Radio listening habits (and naturally radio itself) have undergone some changes from their origin. The most dramatic change