Studio Engineering for Sound Broadcasting in This Series
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BBC SOUND BROADCASTING Its Engineering Development
Published by the British Broadcorrmn~Corporarion. 35 Marylebone High Sneer, London, W.1, and printed in England by Warerlow & Sons Limited, Dunsruble and London (No. 4894). BBC SOUND BROADCASTING Its Engineering Development PUBLISHED TO MARK THE 4oTH ANNIVERSARY OF THE BBC AUGUST 1962 THE BRITISH BROADCASTING CORPORATION SOUND RECORDING The Introduction of Magnetic Tape Recordiq Mobile Recording Eqcupment Fine-groove Discs Recording Statistics Reclaiming Used Magnetic Tape LOCAL BROADCASTING. STEREOPHONIC BROADCASTING EXTERNAL BROADCASTING TRANSMITTING STATIONS Early Experimental Transmissions The BBC Empire Service Aerial Development Expansion of the Daventry Station New Transmitters War-time Expansion World-wide Audiences The Need for External Broadcasting after the War Shortage of Short-wave Channels Post-war Aerial Improvements The Development of Short-wave Relay Stations Jamming Wavelmrh Plans and Frwencv Allocations ~ediumrwaveRelav ~tatik- Improvements in ~;ansmittingEquipment Propagation Conditions PROGRAMME AND STUDIO DEVELOPMENTS Pre-war Development War-time Expansion Programme Distribution Post-war Concentration Bush House Sw'tching and Control Room C0ntimn.t~Working Bush House Studios Recording and Reproducing Facilities Stag Economy Sound Transcription Service THE MONITORING SERVICE INTERNATIONAL CO-OPERATION CO-OPERATION IN THE BRITISH COMMONWEALTH ENGINEERING RECRUITMENT AND TRAINING ELECTRICAL INTERFERENCE WAVEBANDS AND FREQUENCIES FOR SOUND BROADCASTING MAPS TRANSMITTING STATIONS AND STUDIOS: STATISTICS VHF SOUND RELAY STATIONS TRANSMITTING STATIONS : LISTS IMPORTANT DATES BBC ENGINEERING DIVISION MONOGRAPHS inside back cover THE BEGINNING OF BROADCASTING IN THE UNITED KINGDOM (UP TO 1939) Although nightly experimental transmissions from Chelmsford were carried out by W. T. Ditcham, of Marconi's Wireless Telegraph Company, as early as 1919, perhaps 15 June 1920 may be looked upon as the real beginning of British broadcasting. -
CUFBRT404A Coordinate Outside Broadcasts
CUFBRT404A Coordinate outside broadcasts Revision Number: 1 CUFBRT404A Coordinate outside broadcasts Date this document was generated: 27 May 2012 CUFBRT404A Coordinate outside broadcasts Modification History Not applicable. Unit Descriptor Unit descriptor This unit describes the performance outcomes, skills and knowledge required to coordinate outside broadcasts in the media industries. No licensing, legislative, regulatory or certification requirements apply to this unit at the time of endorsement. Application of the Unit Application of the unit Broadcast technicians or technologists apply the skills and knowledge described in this unit. Although they work under the direction of a broadcast engineer or technical director, they are expected to work with minimum supervision and, in the context of outside broadcasts, would usually be responsible for supervising others. The person coordinating outside broadcast technical operations requires a broad range of technical skills associated with setting up and monitoring live feeds, as well as the flexibility to rectify faults quickly and efficiently. They also need to understand the requirements of others involved in the production chain. Note: To meet the requirements of this unit, candidates need to demonstrate competency in the coordination of outside broadcasts for either television or radio. The Required Skills and Knowledge section should be tailored accordingly. Approved Page 2 of 13 © Commonwealth of Australia, 2012 Innovation and Business Skills Australia CUFBRT404A Coordinate outside broadcasts Date this document was generated: 27 May 2012 Licensing/Regulatory Information Not applicable. Pre-Requisites Prerequisite units Employability Skills Information Employability skills This unit contains employability skills. Elements and Performance Criteria Pre-Content Elements describe the Performance criteria describe the performance needed to essential outcomes of a demonstrate achievement of the element. -
Bpsr N Nte Cei B Nary
5689 FRMS cover:52183 FRMS cover 142 18/02/2013 15:00 Page 1 Spring 2013 No. 158 £2.00 Bulletin RPS bicentenary 5689 FRMS cover:52183 FRMS cover 142 18/02/2013 15:00 Page 2 5689 FRMS pages:Layout 1 20/02/2013 17:11 Page 3 FRMS BULLETIN Spring 2013 No. 158 CONTENTS News and Comment Features Editorial 3 Cover story: RPS Bicentenary 14 Situation becoming vacant 4 A tale of two RPS Gold Medal recipients 21 Vice-President appointment 4 FRMS Presenters Panel 22 AGM report 5 Changing habits 25 A view from Yorkshire – Jim Bostwick 13 International Sibelius Festival 27 Chairman’s column 25 Anniversaries for 2014 28 Neil Heayes remembered 26 Roger’s notes, jottings and ramblings 29 Regional Groups Officers and Committee 30 Central Region Music Day 9 YRG Autumn Day 10 Index of Advertisers Societies Hyperion Records 2 News from Sheffield, Bath, Torbay, Horsham, 16 Arts in Residence 12 Street and Glastonbury, and West Wickham Amelia Marriette 26 Nimbus Records 31 CD Reviews Presto Classical Back cover Hyperion Dohnányi Solo Piano Music 20 Harmonia Mundi Britten and Finzi 20 Dutton Epoch British Music for Viola and orch. 20 For more information about the FRMS please go to www.thefrms.co.uk The editor acknowledges the assistance of Sue Parker (Barnsley Forthcoming Events and Huddersfield RMSs) in the production of this magazine. Scarborough Music Weekend, March 22nd - 25th (page 13) Scottish Group Spring Music Day, April 27th (page 13) th th Daventry Music Weekend, April 26 - 28 (pages 4 & 8) Front cover: 1870 Philharmonic Society poster, courtesy of th West Region Music Day, Bournemouth, June 4 RPS Archive/British Library th FRMS AGM, Hinckley, November 9 EDITORIAL Paul Astell NOTHER AGM HAS PASSED, as has another discussion about falling membership and A the inability to attract new members. -
“Talkin' 'Bout My Generation”: Radio Caroline and Cultural Hegemony
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sussex Research Online Financial control, blame avoidance and Radio Caroline: Talkin’ ‘bout my generation Article (Accepted Version) Miley, Frances M and Read, Andrew F (2017) Financial control, blame avoidance and Radio Caroline: Talkin’ ‘bout my generation. Accounting History, 22 (3). pp. 301-319. ISSN 1032-3732 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/67723/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. -
The Production of Religious Broadcasting: the Case of The
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenGrey Repository The Production of Religious Broadcasting: The Case of the BBC Caitriona Noonan A thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy. Centre for Cultural Policy Research Department of Theatre, Film and Television University of Glasgow Glasgow G12 8QQ December 2008 © Caitriona Noonan, 2008 Abstract This thesis examines the way in which media professionals negotiate the occupational challenges related to television and radio production. It has used the subject of religion and its treatment within the BBC as a microcosm to unpack some of the dilemmas of contemporary broadcasting. In recent years religious programmes have evolved in both form and content leading to what some observers claim is a “renaissance” in religious broadcasting. However, any claims of a renaissance have to be balanced against the complex institutional and commercial constraints that challenge its long-term viability. This research finds that despite the BBC’s public commitment to covering a religious brief, producers in this style of programming are subject to many of the same competitive forces as those in other areas of production. Furthermore those producers who work in-house within the BBC’s Department of Religion and Ethics believe that in practice they are being increasingly undermined through the internal culture of the Corporation and the strategic decisions it has adopted. This is not an intentional snub by the BBC but a product of the pressure the Corporation finds itself under in an increasingly competitive broadcasting ecology, hence the removal of the protection once afforded to both the department and the output. -
Audio Signal Visualisation and Measurement
Proceedings ICMC|SMC|2014 14-20 September 2014, Athens, Greece Audio Signal Visualisation and Measurement Robin Gareus Chris Goddard Universite´ Paris 8, linuxaudio.org Freelance audio engineer [email protected] [email protected] ABSTRACT • At the mastering stage, meters are used to check compliance with upstream level and loudness stan- The authors offer an introductory walk-through of profes- dards, and to optimise the dynamic range for a given sional audio signal measurement and visualisation using medium. free software. Many users of audio software at some time face prob- Similarly for technical engineers, reliable measurement lems that requires reliable measurement. The presentation tools are indispensable for the quality assurance of audio- focuses on the SiSco.lv2 (Simple Audio Signal Oscillo- effects or any professional audio-equipment. scope) and the Meters.lv2 (Audio Level Meters) LV2 plug- ins, which have been developed open-source since August 2. METER TYPES AND STANDARDS 2013. The plugin bundle is a super-set, built upon exist- ing tools adding novel GUIs (e.g ebur128, jmeters,..), and For historical and commercial reasons various measure- features new meter-types and visualisations unprecedented ment standards exist. They fall into three basic categories: on GNU/Linux (e.g. true-peak, phase-wheel,..). Various • Focus on medium: highlight digital number, or ana- meter-types are demonstrated and the motivation for using logue level constraints. them explained. The accompanying documentation provides an overview • Focus on message: provide a general indication of of instrumentation tools and measurement standards in gen- loudness as perceived by humans. eral, emphasising the requirement to provide a reliable and • standardised way to measure signals. -
Value Our Voices: Strengthen Community Broadcasting
Value our Voices Strengthen Community Broadcasting A submission by: • Community Broadcasting Association of Australia • National Ethnic & Multicultural Broadcasters’ Council • Australian Indigenous Communications Association • RPH Australia • Christian Media Australia • Australian Community Television Alliance • Community Broadcasting Foundation October 2008 2 Value our Voices Strengthen Community Broadcasting Community broadcasting seeks new annual funding of just over $14 million This increase recognises the enormous contribution community broadcasting makes to Australian society and provides for an ever increasing audience and massive community involvement. An increase in funding will provide the potential to further build and unite communities. This funding will strengthen the community media sector across four areas: Content Production $6.591 million Infrastructure $3.268 million Training $2.505 million Planning & Coordination $1.65 million A snapshot of the Community Broadcasting Sector A large and growing radio audience • 27% of Australians - over .5 million people - listen to community radio in an average week. • This is an increase of 20% in the total number of people listening since 200. • 76,000 Australians are exclusive listeners to community radio. • With a fraction of the resources, community radio has an established audience equal to 60% of the ABC + SBS and 2% of the commercial radio sector. • Clear potential to expand the audience further. A significant community television audience • .7 million viewers nationally. • Despite being confined to analogue distribution while more than 30% of households have switched to digital television. Community broadcasting services and facilities span the country • There are 8 free-to-air services. • 5 radio and 82 television services with long-term licences. • 6 radio and 2 television services under temporary licences. -
23 February 2018 Page 1 of 8 SATURDAY 17 FEBRUARY 2018 Episode Five Agatha Christie Novel in a Poll in September 2015
Radio 4 Extra Listings for 17 – 23 February 2018 Page 1 of 8 SATURDAY 17 FEBRUARY 2018 Episode Five Agatha Christie novel in a poll in September 2015. Mary Ann has an unwelcome encounter with a presence from Directed by Mary Peate. SAT 00:00 BD Chapman - Orbiter X (b0784dyd) her past. Shawna is upset by Michael's revelation. First broadcast on BBC Radio 4 in 2010. Inside the Moon StationDr Max Kramer has tricked the crew of Dramatised by Lin Coghlan SAT 07:30 Byzantium Unearthed (b00dxdcs) Orbiter 2, but what exactly is Unity up to on the Moon? Producer Susan Roberts Episode 1Historian Bettany Hughes begins a series that uses the BD Chapman's adventure in the conquest of space in 14 parts. Director Charlotte Riches latest archaeological evidence to learn more about the empire of Stars John Carson as Captain Bob Britton, Andrew Crawford as For more than three decades, Armistead Maupin's Tales of the Byzantium and the people who ruled it. Captain Douglas McClelland, Barrie Gosney as Flight Engineer City series has blazed a trail through popular culture-from Bettany learns how treasures found in the empire's capital, Hicks, Donald Bisset as Colonel Kent, Gerik Schelderup as Max ground-breaking newspaper serial to classic novel. Radio 4 are modern-day Istanbul, reveal much about the life and importance Kramer, and Leslie Perrins as Sir Charles Day. With Ian Sadler dramatising the full series of the Tales novels for the very first of a civilisation that, whilst being devoutly Christian and the and John Cazabon. -
THE ALLIED EXPEDITIONARY FORCES PROGRAMME Gen
THE ALLIED EXPEDITIONARY FORCES PROGRAMME Gen. Dwight D. Eisenhower Prepared by: Dennis M. Spragg Updated March 2017 1 Cover: Maj. Glenn Miller and Dinah Shore, Abbey Road Studios, September 1944 “The real enjoyment comes from the moments inside our work. Once we heard the happy sound of a music hungry bunch of servicemen, yelling for more whatever we had to offer, we knew that we could never enjoy a more satisfying pay off in our lives”. - -- Major Glenn Miller, September 14, 1944 Establishing the American Forces Network (AFN) in Britain Until June 7, 1944, radio programming for the allied armed forces based in the United Kingdom was provided by distinct British and American services. The American radio operation was the American Forces Network (AFN). American personnel stationed in the United Kingdom did not enjoy or appreciate the programming of the BBC, which they found dull and stiff. The answer was to create a radio network specifically for the Americans; many thousands of whom, the BBC realized, would soon arrive in their nation. Before the Americans began to arrive during 1942, the BBC had created a separate radio service for its own forces, the General Forces Programme (GFP); realizing that service personnel serving at home and abroad would require different radio programs than the civilian population. British and Commonwealth forces also wanted to hear American popular music and variety programming. As Americans arrived, the BBC felt obliged to help establish an American radio presence. The BBC GFP had organized features aimed specifically at Commonwealth personnel, including recordings of American popular music and variety content. -
Delivering Quality First – Page 2
The newspaper for BBC pensioners – with highlights from Ariel A future plan Delivering Quality First – Page 2 Photo courtesy of Jeff Overs November 2011 • Issue 8 tales of Print edition of Musical televison ariel to close memories Centre Page 2 Page 6 Page 9 NEWS • MEMoriES • ClaSSifiEdS • Your lEttErS • obituariES • CroSPEro 02 uPdatE froM thE bbC commissioning and scheduling will be • More landmark output for Radio 4 (which closely aligned. sees its overall budget hardly changed). Delivering Quality First • Job grading, redundancy terms and • More money for the Proms. unpredictability allowances will be • The further rollout of HD and DAB. Mark Thompson sets out ‘a plan for living within our means’ as ‘modernised’ and reformed. A consultation he reveals job losses, output changes, relocations, structured process on those proposals begins Union response immediately. The National Union of Journalists issued a re-investment in a digital public space, and new content and • Production will be streamlined into a swift response to the announcement, calling programmes on BBC services. single UK production economy. for the licence fee negotiations to be re- • Radio and TV commissioning for Science opened and ‘a proper public debate about Fewer staff, a flatter structure, more jobs • All new daytime programming will be and Music will be brought together. BBC funding’. shifting to Salford and more output from on BBC One. In a statement the NUJ said: ‘The BBC will outside London, these are the conclusions of • BBC Two’s daytime output will focus on Reinvestment not be the same organisation if these cuts go the Delivering Quality First process. -
A Demonstration Studio for Sound Recording and Reproduction and for Sound Film Projection
196 PHILIPS TECHNICAL REVIEW VOL. 10, No. 7 A DEMONSTRATION STUDIO FOR SOUND RECORDING AND REPRODUCTION AND FOR SOUND FILM PROJECTION by the ELECTRO-ACOUSTICS DEPARTMENT. 725.81 At the commencement of 1948 a new demonstration studio was placed at the disposal of the Electro-Acoustics Department of the Philips Factories at Eindhoven. Known as the ELA Studio, it is equipped for demonstrations of various types of programme sources, amplifiers, loudspeakers and film projection equipment, as well as for sound recording by different systems. The acoustic properties of the studio are such that the reverberation time at the higher frequencies (0.9 sec at 2000 els) is only slightly less than at the lower frequencies (1.3 sec at 100 cis), this having a very beneficial effect on the high note response. An elaborate relay system permits of any combination of a sound source (microphone, "Philimil" tape, magnetic tape, or radio receiver), an amplifier, and one or more loud- speakers: From the control desk one or several programmes can he passed to different recording equipment, viz. the Philips-Miller, the magnetic or the photographic equipment, or the gramophone recording unit. Arranged round the studio itself are a microphone room, "speech studio", projection, control and recording rooms.. For the effective demonstration of electro- Architecture acoustic equipment such as microphones, pick-ups, In the design of the studio the scope of the amplifiers, loudspeakers and so on, a hall posses- architect was in many respects limited. He was sing certain acoustic properties - amongst others obliged to take into account the special conditions those relating to reverberation time and sound to be met in the matter of acoustics (see later para- insulation - is indispensable. -
Peak Programme Meters
Peak Programme Meters Audio signals in nature can cover an extremely wide dynamic range extending from, at the quietest level, below the threshold of hearing to, at the loudest level, greatly in excess of the threshold of pain! Broadcasters of course do not attempt to emulate this dynamic range, and for entirely practical reasons a very much reduced dynamic level variation must be transmitted. The Listener, or Viewer, will adjust the volume setting in their own home environment so that the Programme is clearly audible above the domestic background noise which will vary from location to location. Invariably Broadcasters restrict the dynamic level range of the transmitted Programme in order to increase the "impact" of the programme audio over this domestic ambience. The dynamic range is restricted by a combination of close- microphone and electronic compression using "dynamic limiters", and in essence, these techniques make the programme's audio sound louder than it would otherwise be. This compression is usually gross on Pop Music channels where the dynamic range is severely limited and often pretty obvious on Commercials too. Measuring audio levels, in a programme production environment, is more complicated than appears at first glance. Programme Audio is subject to the following:- 1) Wide, though restricted, dynamic range. 2) Wide, though restricted, frequency response. 3) Short duration transients 4) Positive and negative signal excursions are often different by many dB. 5) The degree of audio compression will affect measurements. 6) Stereo Phase considerations. 7) The metering must be clear and unambigous. 8).....and other more subtle effects. The characteristics of the measuring device itself totally weight the achieved measurement.