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In 1981, Audio & Design manufactured a line of compressors and limiters with adjustable attack, release and ratio as well as stereo coupling, side chain access and soft knee slopes at the threshold of compression. The Gemini Easy Rider offered two full-function channels. The Ex-press Limiter controlled stereo mixes and could be configured for FM broadcast operations. The Vocal Stresser combined a Compex limiter with four bands of sweepable EQ. The original Compex limiter featured separate compression, limiting and expansion facilities. And for special applications, the Voice-Over limiter automatically maintained a pre-established music-to-voice ratio. The Selective limiter controlled level in one frequency region without modulating the rest of the program.
That was then
Radio enthusiast and Cincinnati businessman Powel Crosley Jr. began broadcasting on WLW with 200W on 710 AM in 1922. Common program offerings were singers, piano and organ music, swimming lessons and guitar lessons. Local actors performed dramatic readings and scripts from plays. No commercial time was sold until 1926 and program schedules weren't developed until after 1923.
By 1930 transcription machines and turntables with electronic pickups were standard equipment. Microphones were placed on the stage or suspended over an audience for laughter and applause during programs.
WLW improved its facilities over the years, and by the 1950s had moved to Crosley Square in Cincinnati. In this 1957 photo, Bill Myers is working in WLW's Studio G control room at Crosley Square.
Source: Stepping out in Cincinnati by Allen Singer, copyright 2005.
Sample and Hold
Time spent listening to broadcast radio after purchasing subscription to satellite radio
Source: Paragon Media Strategies, New Media Listening Habits: Are they affecting broadcast radio? August 2005.
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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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Minneapolis Public Schools upgrades their aging equipment with new Audio over IP technology
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