On an unseasonably warm and sunny New England day, the Comrex engineering team set forth boldly to test BRIC on as many publicly available hotspots as possible.
With telephone companies less willing to support dedicated equalized broadcast lines, and in some areas reluctant to setup new ISDN service, the challenges for getting audio from here to there are becoming greater. So what can you do?
While remotes and live events are the primary use, many stations are using POTS and ISDN codecs for back-up STLs and other itinerant applications.
When the project began, Nassau New Hampshire ordered five ISDN and POTS codecs. Now Verizon says that ISDN is not available.
KUVO broadcast three-time Grammy-winner Dianne Reeves with the Colorado Symphony Orchestra (CSO) live using a Harris Neustar 5225 downmix system. The event marked the first regular use of a surround broadcast in IBOC.
The Xport can transmit audio via POTS or ISDN to a studio-located ISDN Zephyr codec. Kirk Chestnut provides a review.
Feeding a network of 16 English-language stations in California, Nevada and New Mexico with a remote broadcast almost every other night during the basketball season, KLAC has honed its process.
WLIU reviews the audio codec for its remote needs.
The term codec describes the function of encoding and decoding audio to pass through a defined data path. In radio, this term carries a more specific
WHMS makes a mobile remote simple with GSM service and Comrex Matrix codec.
The Aduio TX Multiplex application provides the ability to broadcast multiple audio channels over a LAN.
The AudioTX Communicator is a software-based codec that runs on any Windows PC.
The Patriot from Tieline Technology delivers bi-directional 15kHz mono audio over a standard phone line using its special codec and a custom-made modem to provide solid performance.
The term codec is now widely used in circles well beyond radio and broadcasting. The ISDN codec changed the way radio stations held remote broadcasts.
An explanation of the various terms used for ISDN codecs.
Subband Adaptive Differential Pulse Code Modulation is a non-perceptual method for reducing the bit rate of linear pulse code modulation encoded audio in real time. There are three commercial equipment options are available when adopting this method of compression.
With ISDN phone lines becoming commonplace just about anywhere in the world, broadcasters have come to rely on them to deliver high-quality audio from remote locations and events back to their studio.
Take advantage of the compact size and power of current equipment to make remotes painless.
Sierra Automated Systems - Riolink | AEQ - Swing and Eagle | ATI - AMM200
Now that the FCC has accepted IBOC, we will see even more improvements as sites are updated with digital exciters and solid-state transmitters. With all of these advances in technology, don't overlook what can become the weak link: the method used to get the audio from one location to another.
It's time for The Mighty Wurlitzer Radio Hour program to originate live on WCLV-AM and FM from the home of the John Milton Williams Museum of Radio Broadcasting History.
APT has signed a licensing deal with Harris that allows Harris to use software versions of APT's algorithm in a number of its products.
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.
Festival employs AAC algorithm.
All about wired connections at NAB2001.