Take advantage of the compact size and power of current equipment to make remotes painless.
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.
Incrementally or all at once, the transition is coming. How digital is your facility?
When NPR planned its coverage of the Presidential inauguration in January 2001, the details of the election itself were the top headlines.
John Diamantis takes the POTS codec for a spin in this review.
Leaving the comforts of the studio allows radio to shine in the limelight. Audio quality is important, but so is the physical presence of the station.
Chances are very good that you have been exposed to the artifacts of perceptual audio coding without even knowing it. Perceptual audio coding, in a general
Remote broadcasts for radio stations have always been challenging.