Once a tool for the privileged few, digital consoles have grown in popularity and in available choices, while the cost of these consoles has continued to fall.
The recorder automatically senses and changes a digital sampling rate, making it possible to do digital transfers from MDs, DATs and other digital signals that are sampled at 32kHz or 48kHz.
In most cases, the plans are set and followed with minor variations because of challenges. In the case of Journal’s Omaha stations, just finalizing the plan was the challenge.
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.
Radiovisa in Los Angeles has installed a consolidated router and console system from SAS. The system reduces the cabling needs as well as the in-studio equipment needs for the stations.
The Imedialogger can record 12 audio sources and can play back and record simultaneously. The Bonneville St. Louis stations put it to the test.
Now that individual computers take care of all the tasks related to radio automation, the logical evolution is integration of audio transport for program contributions and distribution.
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.
Studio Technologies announcer's consoles played a big role in bringing two of 2004's biggest sporting events back to their audiences. Remote engineer Raul Velez reviews these controllers.
The lines between audio and data are blurred further every day. Recent technology and product introductions take this even further.
When the project began, Nassau New Hampshire ordered five ISDN and POTS codecs. Now Verizon says that ISDN is not available.
Remembering the Auditronics Destiny 2000, a review of radio listening in 1927, and the habits of radio listeners and TV viewers with online shopping.
After the third lightning strike, Joe Ternovan, chief engineer of Infinity Columbus, OH, looked into other means of protecting the system from lightning strikes through the telephone line. He found the Clenney Communications Optelator.
On Sept. 24, KUVO-FM, Denver, featured a surround sound broadcast of Dianne Reeves performing with the Colorado Symphony Orchestra.
Is there a surround audio processor in your future? Without a doubt, but if you're expecting something like a five-channel version of your current stereo processor, think again.
The Xport can transmit audio via POTS or ISDN to a studio-located ISDN Zephyr codec. Kirk Chestnut provides a review.
Remembering the Harris Producer and the Smith Practical Radio Institute, as well as a look at engineers' ages.
While it takes several elements to make a production studio an effective workspace, the centerpiece of most studios is the digital audio workstation.
Vermont Public Radio has increased its demand on condenser mics, as outlined in this 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.
What do you do while listening to the radio?
At closer inspection, the Profiler could replace the dreaded open-reel logger. Mike Kernen shares his review.
After spending 15 years high atop Frog's Mountain, Clear Channel has successfully consolidated four AM stations, two FM stations, five radio networks, 250 personnel -- including 75 on-air and engineering staff -- under one roof.
An early effort at creating a digital audio cassette format; the 1960 Democratic National Convention; and radio station acquisitions of 2003.
Recording audio outside the studio presents several challenges to the radio station. The ability to make a high-quality recording is not so difficult, given the broad range of portable choices to capture recorded sound.
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