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Digital Audio Broadcasting : Principles and Applications of Digital Radio
Digital Audio Broadcasting Principles and Applications of Digital Radio Second Edition Edited by WOLFGANG HOEG Berlin, Germany and THOMAS LAUTERBACH University of Applied Sciences, Nuernberg, Germany Digital Audio Broadcasting Digital Audio Broadcasting Principles and Applications of Digital Radio Second Edition Edited by WOLFGANG HOEG Berlin, Germany and THOMAS LAUTERBACH University of Applied Sciences, Nuernberg, Germany Copyright ß 2003 John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex PO19 8SQ, England Telephone (þ44) 1243 779777 Email (for orders and customer service enquiries): [email protected] Visit our Home Page on www.wileyeurope.com or www.wiley.com All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except under the terms of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London W1T 4LP, UK, without the permission in writing of the Publisher. Requests to the Publisher should be addressed to the Permissions Department, John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex PO19 8SQ, England, or emailed to [email protected], or faxed to (þ44) 1243 770571. This publication is designed to provide accurate and authoritative information in regard to the subject matter covered. It is sold on the understanding that the Publisher is not engaged in rendering professional services. If professional advice or other expert assistance is required, the services of a competent professional should be sought. -
Internet Radio: an Analysis of Pandora and Spotify
Internet Radio: An Analysis of Pandora and Spotify BY Corinne Loiacono ADVISOR • Jim Bishop EDITORIAL REVIEWER • Phyllis Schumacher _________________________________________________________________________________________ Submitted in partial fulfillment of the requirements for graduation with honors in the Bryant University Honors Program APRIL 2014 Internet Radio Customizations: An Analysis of Pandora and Spotify Senior Capstone Project for Corinne Loiacono Table of Contents Acknowledgements: ..................................................................................................................................... 3 Abstract: ........................................................................................................................................................ 4 Introduction: ................................................................................................................................................. 5 Review of Literature: .................................................................................................................................... 7 An Overview of Pandora: ................................................................................................................ 7 An Overview of Spotify: ............................................................................................................... 10 Other Mediums: ............................................................................................................................. 12 A Comparison: .............................................................................................................................. -
Pervasive New Media
BLOOM: PERVASIVE NEW MEDIA PERVASIVE NEW MEDIA: INDECENCY REGULATION AND THE END OF THE DISTINCTION BETWEEN BROADCAST TECHNOLOGY AND SUBSCRIPTION-BASED MEDIA MATTHEW BLOOM+ TABLE OF CONTENTS IN TR O D UC TION .......................................................................................... 110 I. BROADCAST REGULATION AND THE FIRST AMENDMENT .................. 111 II. THE CASE FOR ELIMINATING THE CABLE/BROADCAST D ISTIN C TIO N ........................................................................................ 116 A. EXPLICATING THE CABLE/BROADCAST REGULATORY D ISTIN C TION .................................................................................. 116 B. CABLE AS A PERVASIVE MEDIUM INDISTINGUISHABLE FROM B R O AD C A STIN G ............................................................................. 117 III. MODERN MEDIA AND THE UNWARRANTED DISTINCTION FROM BROADCAST TECHNOLOGY ................................................................. 121 IV. ADDRESSING COUNTERARGUMENTS TO ELIMINATING THE D ISTIN C TION ........................................................................................ 125 C ON C L U SIO N.............................................................................................. 126 + Yale Law School, J.D. expected 2008. Yale College, B.A. 2005. The author wishes to thank Gabe Rosenberg for his skillful editing. Published by Yale Law School Legal Scholarship Repository, 2007 1 Yale Journal of Law and Technology, Vol. 9 [2007], Iss. 1, Art. 3 YALE JOURNAL OF LAW & TECHNOLOGY 2006-2007 -
Stations Monitored
Stations Monitored 10/01/2019 Format Call Letters Market Station Name Adult Contemporary WHBC-FM AKRON, OH MIX 94.1 Adult Contemporary WKDD-FM AKRON, OH 98.1 WKDD Adult Contemporary WRVE-FM ALBANY-SCHENECTADY-TROY, NY 99.5 THE RIVER Adult Contemporary WYJB-FM ALBANY-SCHENECTADY-TROY, NY B95.5 Adult Contemporary KDRF-FM ALBUQUERQUE, NM 103.3 eD FM Adult Contemporary KMGA-FM ALBUQUERQUE, NM 99.5 MAGIC FM Adult Contemporary KPEK-FM ALBUQUERQUE, NM 100.3 THE PEAK Adult Contemporary WLEV-FM ALLENTOWN-BETHLEHEM, PA 100.7 WLEV Adult Contemporary KMVN-FM ANCHORAGE, AK MOViN 105.7 Adult Contemporary KMXS-FM ANCHORAGE, AK MIX 103.1 Adult Contemporary WOXL-FS ASHEVILLE, NC MIX 96.5 Adult Contemporary WSB-FM ATLANTA, GA B98.5 Adult Contemporary WSTR-FM ATLANTA, GA STAR 94.1 Adult Contemporary WFPG-FM ATLANTIC CITY-CAPE MAY, NJ LITE ROCK 96.9 Adult Contemporary WSJO-FM ATLANTIC CITY-CAPE MAY, NJ SOJO 104.9 Adult Contemporary KAMX-FM AUSTIN, TX MIX 94.7 Adult Contemporary KBPA-FM AUSTIN, TX 103.5 BOB FM Adult Contemporary KKMJ-FM AUSTIN, TX MAJIC 95.5 Adult Contemporary WLIF-FM BALTIMORE, MD TODAY'S 101.9 Adult Contemporary WQSR-FM BALTIMORE, MD 102.7 JACK FM Adult Contemporary WWMX-FM BALTIMORE, MD MIX 106.5 Adult Contemporary KRVE-FM BATON ROUGE, LA 96.1 THE RIVER Adult Contemporary WMJY-FS BILOXI-GULFPORT-PASCAGOULA, MS MAGIC 93.7 Adult Contemporary WMJJ-FM BIRMINGHAM, AL MAGIC 96 Adult Contemporary KCIX-FM BOISE, ID MIX 106 Adult Contemporary KXLT-FM BOISE, ID LITE 107.9 Adult Contemporary WMJX-FM BOSTON, MA MAGIC 106.7 Adult Contemporary WWBX-FM -
An Introduction to Internet Radio
NB: This version was updated with new Internet Radio products on 26 October 2005 (see page 8). INTERNET RADIO AnInternet introduction to Radio Franc Kozamernik and Michael Mullane EBU This article – based on an EBU contribution to the WBU-TC Digital Radio Systems Handbook – introduces the concept of Internet Radio (IR) and provides some technical background. It gives examples of IR services now available in different countries and provides some guidance for traditional radio broadcasters on how to adapt to the rapidly changing multimedia environment. Traditionally, audio programmes have been available via dedicated terrestrial networks broad- casting to radio receivers. Typically, they have operated on AM and FM terrestrial platforms but, with the move to digital broadcasting, audio programmes are also available today via DAB, DRM and IBOC (e.g. HD Radio in the USA). However, this paradigm is about to change. Radio programmes are increasingly available not only from terrestrial networks but also from a large variety of satellite, cable and, indeed, telecommunications networks (e.g. fixed telephone lines, wire- less broadband connections and mobile phones). Very often, radio is added to digital television plat- forms (e.g. DVB-S and DVB-T). Radio receivers are no longer only dedicated hi-fi tuners or portable radios with whip aerials, but are now assuming the shape of various multimedia-enabled computer devices (e.g. desktops, notebooks, PDAs, “Internet” radios, etc.). These sea changes in radio technologies impact dramatically on the radio medium itself – the way it is produced, delivered, consumed and paid-for. Radio has become more than just audio – it can now contain associated metadata, synchronized slideshows and even short video clips. -
The Streaming Television Industry: Mature Or Still Growing?
The Streaming Television Industry: Mature or Still Growing? Johannes H. Snyman Metropolitan State University of Denver Debora J. Gilliard Metropolitan State University of Denver This paper is about the streaming television industry. It begins by defining the industry and provides a brief history of the television industry in general, from the first transatlantic television signal in 1928 to 2018. From that point, it emphasizes the streaming television industry, which started in 2007, when Netflix first streamed movies over the internet. The main section of the paper focuses on Michael Porter’s theory of the industry life cycle to determine the current stage of the industry. The research question is developed, proposing that the industry is in the growth phase. Then, the number of paid subscribers of the top streaming providers in 2018 is used to address the research question. The results indicate that the industry is in the growth phase. The final section provides an outlook for the industry’s future. Keywords: Streaming TV Industry, OTT TV, Growth Industry INTRODUCTION The television industry is rapidly changing, moving toward “over-the-top”, or streaming, television. Cord cutting is occurring as millennials and traditional viewers discontinue and unbundle their television, internet, and landline telephone services (Snyman & Gilliard, 2018). Millennials are keeping their monthly expenses down by subscribing to streaming services that provide the content they are interested in watching, and binge-watching of serial television shows is the new norm (Prastien, 2019). “Over-the-top” (OTT) television and “online video distribution” (OVD) are terms that originally referred to the streaming television services provided by Netflix, Hulu and Amazon. -
BBC Research and Development White Paper List Colorimetric And
BBC Research and Development White Paper List Ref Publication date Number Main author Title Year Month White Paper link Keywords WHP001 J. Middleton The calibration of VHF/UHF field strength measuring equipment 2001 April http://downloads.bbc.co.uk/rd/pubs/whp/whp-pdf-files/WHP001.pdf VHF/UHF field strength, calibration WHP002 J. Middleton The validation of interference reduction techniques used in planning the UK DTT network 2001 July http://downloads.bbc.co.uk/rd/pubs/whp/whp-pdf-files/WHP002.pdf Interference reduction, DTT network planning WHP003 T. Everest Multiplex coverage equalisation 2001 August http://downloads.bbc.co.uk/rd/pubs/whp/whp-pdf-files/WHP003.pdf digital television, planning RTS Award submission WHP004 J.H. Stott Cumulative effects of distributed interferers 2001 August http://downloads.bbc.co.uk/rd/pubs/whp/whp-pdf-files/WHP004.pdf DSL, PLT, PLC, emissions, broadcasting, aircraft safety, cumulative interference WHP005 R. Walker Acoustic modelling - approximations to the real world 2001 September http://downloads.bbc.co.uk/rd/pubs/whp/whp-pdf-files/WHP005.pdf Acoustic modelling, sound propagation WHP006 M.R. Ellis Digital Radio - Common problems in DAB receivers 2001 November http://downloads.bbc.co.uk/rd/pubs/whp/whp-pdf-files/WHP006.pdf Digital Radio; DAB; Digital Audio Broadcasting; receiver; common problems WHP007 O. Grau Applications of depth METADATA 2001 September http://downloads.bbc.co.uk/rd/pubs/whp/whp-pdf-files/WHP007.pdf METADATA, depth sensing WHP008 A. Roberts How to recognise video image sources 2001 October http://downloads.bbc.co.uk/rd/pubs/whp/whp-pdf-files/WHP008.pdf video image recognition WHP009 R. -
The RIAA, the DMCA, and the Forgotten Few Webcasters: a Call for Change in Digital Copyright Royalties
Federal Communications Law Journal Volume 61 Issue 2 Article 7 3-2009 The RIAA, the DMCA, and the Forgotten Few Webcasters: A Call for Change in Digital Copyright Royalties Kellen Myers Indiana University Maurer School of Law Follow this and additional works at: https://www.repository.law.indiana.edu/fclj Part of the Administrative Law Commons, Antitrust and Trade Regulation Commons, Communications Law Commons, Intellectual Property Law Commons, Internet Law Commons, and the Legislation Commons Recommended Citation Myers, Kellen (2009) "The RIAA, the DMCA, and the Forgotten Few Webcasters: A Call for Change in Digital Copyright Royalties," Federal Communications Law Journal: Vol. 61 : Iss. 2 , Article 7. Available at: https://www.repository.law.indiana.edu/fclj/vol61/iss2/7 This Note is brought to you for free and open access by the Law School Journals at Digital Repository @ Maurer Law. It has been accepted for inclusion in Federal Communications Law Journal by an authorized editor of Digital Repository @ Maurer Law. For more information, please contact [email protected]. The RIAA, the DMCA, and the Forgotten Few Webcasters: A Call for Change in Digital Copyright Royalties Kellen Myers* I. INTRODUCTION ......................................................................... 432 II. WEBCASTING AND COPYRIGHT LAW: A HISTORY ................... 435 A. How Webcasting Works ................................................... 435 B. CopyrightBackground .................................................... 435 C. The Musical Work (Composition) -
The Effects of the Cord-Cutting Counterpublic
Utrecht University The Effects of The Cord-Cutting Counterpublic How the Dynamics of Resistance and Resilience between the Cord-Cutters and the Television Distribution Industry Are Redefining Television Eleonora Maria Mazzoli Academic Year 2014-2015 Page intentionally left blank Utrecht University The Effects of the Cord-Cutting Counterpublic How the Dynamics of Resistance and Resilience between the Cord-Cutters and the Television Distribution Industry Are Redefining Television Master Thesis Eleonora Maria Mazzoli 4087186 RMA Media and Performance Studies Words: 37600 Supervisor: Prof. Dr. William Uricchio Second Reader: Prof. Dr. Eggo Müller Academic Year: 2014-2015 Cover picture by TechgenMag.com © 2015 by Eleonora Maria Mazzoli All rights reserved Page intentionally left blank To my parents, Donatella and Piergiovanni, and to my little sister, Elena “La televisiun, la g'ha na forsa de leun; la televisiun, la g'ha paura de nisun.” “Television is as strong as a lion; Television fears nobody.” Enzo Jannacci. La Televisiun.1975. Page intentionally left blank Table of Content Abstract 1 Preface: Television as A Cross-Media Techno-Cultural Form 2 1. Introduction - Cord-Cutting 101: A Revolution Has Begun 5 1.1. Changing Habits in a Changing Ecosystem 5 1.2. The Question of the Cord-Cutting Counterpublic 8 1.3. Methodology: Sources, Approach and Structure 11 1.4. Relevance 15 2. The Cutters within a Cross-Media Television Ecosystem 17 2.1. Re-working of the U.S. Television Distribution Platforms 18 2.2. Legitimating Newfound Watching Behaviours 23 2.3. Proactive Viewers, Cord-Killers, Digital Pirates: Here Come the Cord-Cutters 25 3. -
Free Internet Tv Watch
Free internet tv watch click here to download Free TV. More than channels from around the world. News, Music, Business,Sport. Watch free online TV stations from all over the world. Find the best free Internet TV, and live web TV on Streema. How to watch TV online for free with these sites, including Hulu, Veoh, Daily, and Sidereel. Find news, sports, movies, and lots more. WWITV: World Wide Internet TV Your Portal to watch free live online TV broadcasts. Thank you for visiting the World Wide Internet TV website (wwiTV). No money in the budget for a cable subscription? Or even for Hulu? Fear not: As long as you've got internet, you can enjoy a wealth of free TV. Watch live TV from the BBC, ITV, Channel 4, Five, Dave and other UK channels on TVPlayer online for FREE. TV on your laptop, smart phone, tablet, smart TV or Xbox. IOS, Android, Windows mobile TV apps. Over TV channels. Watch TV free with Zattoo Internet TV. Watch Free Internet TV Stations from around the world on your computer. Over Free online TV channels. Large collection of live Web TV stations. Find quickly and easily live TV channels on the Internet. Watch TV Broadcasts from USA, India, Europe & all other countries on your PC / MAC, Phone, or Tablet . Tue 10/23 PM. pm pm; pm pm; pm pm; pm pm; pm pm. Now. © Copyright Pluto TV; Privacy Policy. Watch free TV and movies on your Android Phone and Android TV. Pluto TV has over live channels and 's of movies from the biggest names like: NBC. -
Streaming Television Content an Alternative Way to Offer Video Services by Ken Pyle, Viodi, LLC
Streaming Television Content An Alternative Way to Offer Video Services By Ken Pyle, Viodi, LLC Last month, we reviewed the Prismiq MediaPlayer, a device that is currently available to consumers wishing to browse the Internet, post email and view MPEG and other media files on their television sets. This set-top box and its associated software could be the basis for a new approach to telco-delivered video. This article will delve into some possible ways a telco could exploit “Streaming Television” to provide a robust video service offering quickly and with much lower upfront cost than traditional approaches. What is streaming television content and how is it different than content delivered via traditional television distribution means described in the previous section? Streaming Television Content, for the purposes of this article, is defined as: content that is delivered via the Internet to provide a television-like experience to PCs, Televisions (via set-tops) or other Internet-enabled appliances. This approach offers even the smallest independent telephone companies with the potential to quickly and cost-effectively offer video services. The upfront, fixed costs are minimized with this method, as the marginal costs are mostly associated with consumer premise devices. Unlike the traditional distribution of content to televisions, this approach: • Reduces the costs associated with a traditional headend • May not require regulatory authority (at least for the content portion) • Does not necessarily involve retransmission of local broadcasters or national cable programming networks This approach to content delivery could appeal to those telcos too small to justify the expense of a switched digital headend, as well as provide a low-risk, low-cost, entry into video services for those larger telcos that have a long-term plan to offer content via a more traditional distribution system. -
Introduction: Streaming and the Re-Education of the Audience
. Volume 16, Issue 2 November 2019 Introduction: Streaming and the re-education of the audience Barbara Klinger, Indiana University, US In May 1999, in an early digital experiment with feature-length films, Edward Vilga’s low- budget neo-noir Dead Broke premiered simultaneously at New York’s Tribeca Film Center via digital file and on Ifilm.net, an early online film distributor, for users equipped with Windows Media Player. Unfortunately, all did not go as planned. Critics complained about glitches in the theatrical presentation that included the then familiar herky-jerky images and muddy soundtracks that ensued from uneven delivery of the compressed data involved in transmitting large data files. Meanwhile, many logging on to Ifilm.net to watch the movie were similarly vexed – either unable to stream the film or subjected to other technical difficulties resulting in a heavily pixelated picture. One month later and with more success at least on one of these platforms, George Lucas arranged for the digital projection of Star Wars: Episode 1 – The Phantom Menace in a handful of specially-equipped theaters and then went on to shoot Star Wars: Episode 2 – Attack of the Clones (2002) using high- definition digital cinematography. Uncertain commentators asked whether such pioneering experiments might signal the dawn of the digital era in cinema production, distribution and exhibition (Nickell 1999). Twenty years later, we know that the answer to this particular question is a resounding yes. More broadly speaking, traditional media industries like music, television and film have each had their own complicated history with respect to the emergence and increasingly pervasive dominance of digital technology.