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ASI6514: The ASI6514 is a professional PCI sound card designed for use in radio broadcast automation. Providing up to 12 play streams mixed to four balanced stereo outputs and up to two record streams fed from one balanced stereo input, the ASI6514 features anything to anywhere mixing and routing. The ASI6514 provides both balanced analog and AES-3 inputs and outputs. The maximum analog input and output level is +24dBu. A choice of uncompressed PCM, MPEG layer 2 and MP3 is available for both recording and playback. All compression is handled by an on-board floating point DSP, allowing the host computer to focus on other tasks.
LTI-1: This laptop interface features a 3.5mm plug and 3' cable to connect to laptops, MP3 players or any other stereo 3.5mm audio output to a professional audio mixer. The LTI-1 is equipped with built-in ground lift switches and a -20dB pad. It also features left and right XLR outputs.
Air 24/7: The system features an IKIS-based control platform; DSP engine using dual Opteron processors; redundant power supplies; 15" console TFTs for precision parameter, waveform metering and routing display; multi-studio resource sharing, eight, 16-, 24- and 32-fader control surface configurations; mono, stereo or 5.1 surround sound channels; full EQ and dynamics processing available on every channel; and scalable mix minus and aux output buses.
Mic Mate: The Mic Mate universal USB microphone interface is a tool that enables any dynamic or condenser microphone to be connected to a personal computer. The Mic Mate is a USB 2.0 high-speed device that is backward compatible with USB 1.1. The analog section of the Mic Mate features a 20Hz-20kHz frequency response, and a three-position, switchable attenuation pad with settings for high (0dB), medium (-5dB), and low (-10dB), making it easy to configure the attached microphone to virtually any sound source. The digital section features a 16-bit Delta Sigma A/D converter with a sampling rate of 44.1kHz and 48kHz. For use with condenser microphones, the Mic Mate supplies 48V phantom power.
RIAA Reporter: This royalty-reporting tool automates the new per-performance RIAA royalty reporting requirements that went into effect in 2008. As a result of the new royalty fee arrangement, streaming radio stations will no longer be allowed to report royalty fees by aggregate tuning hour, which was based on the total hours of programming that the stations transmitted during a month to all listeners. Instead, stations will be required to report on a per-performance basis - or the total number of people listening each time a performance is played. Royalty fees are paid by streaming radio stations to Sound Exchange. RIAA Reporter removes the burden for stations by generating a monthly and quarterly report in spreadsheet format that does all the calculations, showing what was played, how often, and the total number of listeners. Clients need only to logon to the Liquid Compass Client Control Center and select from pre-populated dropdown information such as call letters and date range. The program will automatically calculate the stations fee and provide it in a form acceptable to Sound Exchange.
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Today in Radio History
The history of radio broadcasting extends beyond the work of a few famous inventors.
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The feed provides feeds for all US states and territories.
Need a calendar for your computer desktop? Use one of ours.
Information from manufacturers and associations about industry news, products, technology and business announcements.
When Northern Community Radio set out to build a new community radio station in rural northern Minnesota 38 years ago, naysayers said that it would be broadcasting “only to a bunch of gophers
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