Additional photos of Legend Communications of Wyoming, accompanying the Facility Showcase in the February 2002 issue of BE Radio magazine.
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.
Any time a station broadcasts from outside the studio, whether it's a promotional appearance, sporting event, news coverage or sponsored appearance, the term "remote" is used to describe it. While these events are unique in their own way, the same basic plan can make each a success.
One of the most important equipment selection decisions made when building a facility is also one that is typically given the least thought.
Welcome to the wide-open area that is home to the five stations that form the Big Horn Radio Network: KZMQ-FM, KZMQ-AM, KTAG-FM, KODI-AM and KCGL-FM.
When the Hard Rock Cafe in Toronto remodeled its facilities, a new element was added. The restaurant, which reopened on November 26, 2001, added a street-level radio studio as a regular part of its operation. CILQ-FM (Q107) now uses the studio weekday afternoons and early evenings and every Saturday evening for live broadcasts.
Establishing a station's on-air sound can be a subject of great debate. The original purpose of audio processing, preventing overmodulation and adding pre-emphasis, is still a primary function.
About four years ago, the Indianapolis Colts management decided to bring all their advertising and marketing efforts in-house. Since that time, the need for advertising spots, promos and programming has grown in leaps and bounds.
Long-form radio programming was once a staple part of radio entertainment. GAP Digital, a recording facility near Chicago, thrives on creating long-form radio dramas and talking books for radio.
The first step in achieving consolidated facility efficiency is to relocate all the radio stations owned by a single company to one central location. The primary design issue for any radio station is the organization of the programmatic elements in a way that promotes efficient operation. Addressing the station's needs from the beginning will avoid costly mistakes later.
The single largest factor in the cost of an IBOC conversion, the transmitter, is the subject of the majority of inquiries.
Part 1 of our Special Report.
Radio broadcasting in the U.S. has a rich history, and great stories have been told and written about call letter origins, news coverage, format development, programming and promotion snafus, and all the famous TV celebrities who got their starts in radio.
Part 3 of our Special Report.
Part 2 of our Special Report.
After nearly 20 years of working in radio, being involved in the design process of Westwood One's Washington, DC, studio facility was something of a departure from my experience. I learned that sound isolation, sound deadening and noise elimination are not necessarily a primary focus. In some cases, background noise can be a good thing.
Ibiquity has completed tests for its FM IBOC system, and tests for the AM version are currently underway. What interests most broadcasters is understanding the test objectives. At this critical point in the acceptance of IBOC, stations should be aware of the efforts being made to develop a workable and realistic system.
Just about every feature we have appreciated in the broadcast cartridge has been replaced by a more flexible and better-sounding alternative.
Digital audio has provided radio with a means to deliver a higher-quality sound without requiring significant additional cost.
You have seen several large radio facilities in the pages of BE Radio, including those for Clear Channel Denver and Sirius Satellite Radio. When they were completed, those facilities were the largest radio facilities in existence in North America. As is usually the case, once a milestone is achieved, the challenge to exceed it is made.