Neural Audio demonstrated several technologies at the NAB Radio Show last week.
There are many facets to broadcasting surround content. Besides choosing a technology, the station's technical staff has to become appropriately educated, suitable monitoring is needed to listen to the content, and the related infrastructure has to be suitably in place.
It became clear that by using the Neustar software directly on the HD Radio Importer we could maximize our multicasting capabilities beyond the two channels available using dedicated hardware.
Neural Audio Corporation and THX Ltd. have seen their Neural-THX Surround technology integrated in an estimated 70 percent of new audio-video receivers, from companies such as Sony, Pioneer, Yamaha, Onkyo, Integra, Denon and Marantz.
Jeff Keith's SMO900, a 1957 ad for a General Electric transistor radio and songs played by label on terrestrial radio and Live 365 in 2006.
There are unique circumstances in every radio station--some physical, some due to specifically requested functionality--that cannot always be addressed by the features of the major components of the system. What becomes necessary in many cases such as these are special devices that fill in those gaps and provide the last little piece of the puzzle that makes the system complete.
Neural Audio and THX will provide their Neural-THX Surround sound technology for the first surround broadcast from the Aspen Music Festival and School.
JK Audio unveiled the Remote Mix 4 portable mixer at NAB2007, and at that time announced a delivery date in mid-July.
According to a release from the FCC, the order promotes the development of fully digital next generation technologies and delivery systems that will better serve the American public.
Do you remember? The first Continental Electronics 317C 50kW AM transmitter was installed in 1965. The transmitter was mostly solid-state and featured
The Wheatstone Bridge is built around card-configurable frames that can sample any combination of analog or digital audio sources and interface with logic control sources.
With analog, engineers know how to measure levels, frequency response and distortion to gauge the audio performance. Unfortunately, digital audio changes all this.
The Studio Drive's built-in mic preamp had plenty of gain, low apparent noise and no audible headroom issues.
Audio processing is one province of the field of broadcasting that remains solidly in the hands of the engineer at a radio station.
In today's marketplace, radio station programmers and managers are looking for new and creative ways to attract and keep listeners. One way is through
WZLX Boston launched its 5.1 surround service this week on the station's main HD Radio channel.
Audioscience and Axia Audio announced a partnership in January of this year. Four months later, Audioscience will debut the results of that venture at NAB2007; the ASI6585 Axia Livewire PCI adapter.
Classical Public Radio Network (CPRN), with more than one million music listeners, has begun nationwide broadcasting and global Internet streaming of 5.1 Neural-THX Surround-encoded classical recordings through its 60-station network.
The European Broadcast Union (EBU) has struck a deal with Belfast-based codec manufacturer APT to use the company's Worldnet Oslo units as part of a pilot scheme designed to develop surround sound broadcasts.
Adding rooms and extra parking spaces to an existing building doesn't always work, as Entercom Kansas City found out. Deciding to make the move was only one part of the process.
The Samson Zoom H4 portable recorder looks like something out of Men In Black but it’s an exceptionally versatile portable recording device.
This cable is an easy answer to a common cable question: What if you only need to provide a single mic input?
When building a new remote broadcast system, find the correct balance between functionality and ease of use.
It was time for KSON and KIFM in San Diego to embrace the digital age of HD Radio. But it needed new, simple microphone processing that meshed with the new digital console and air chain.
American broadcasters may not be as familiar with equipment made by Madrid-based AEQ as other broadcast brands, but the designer and manufacturer of radio equipment has an extensive track record of major studio installations elsewhere.
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