Radio broadcasting sound effects ending relationship

Sound effect - Wikipedia

radio broadcasting sound effects ending relationship

Radio: Radio, sound communication by radio waves, usually through the Radio also can employ a boundless plethora of sound and music effects to entertain and .. The network had 19 stations by the end of ; by the mid- s .. Radio's relationship with the movies intensified with the premiere of. Further, the choice of an FM subcarrier as the format for sound transmission during central to the medium's technical aesthetics in the broadcast era: noise. 10 In grounding Ellis's claims about sound-image relations within a specific set . resolution than film, television produces an effect not unlike abstract art, as of the. All Radio Sounds in both Wav and MP3 formats Here are the sounds that have been tagged with Radio free from Comical Radio Station Sounds. Personal Use Only. Tune Radio. Personal Use Only. Radio Static. Personal.

The fake format, more often than not, is only intended as a transition to a new format or existing format adjustment. A similar, but smaller, effect can be produced by registering numerous domain names suggesting various formats, in an effort to throw off "net gnomes" and generate buzz. The "Wheel of Formats" a play on the game show Wheel of Fortune is one variation of this, in which several short-lived formats are aired for a short time between an hour and a daythen replaced by another equally short-lived format, then another, etc.

These formats can range from legitimate mainstream formats to novelties that would never be seriously considered as a full-time format.

radio broadcasting sound effects ending relationship

By the declaration of 'end of combat' on February 28, the transition to News-Talk as "NewsRadio " had been complete. In summertwo stations who had recently been sold to the same new owner transitioned from alternative rock to all-news radio by using the same adult contemporary music transition branded as "FM New.

After some fake static in which the conclusion of " Beginnings " by Chicago could faintly be heardthe station was "relaunched" as "News Talk The station immediately switched to a CHR format initially dubbed " The "change" came complete with on-air kayfabe -style complaining from the station's staff. Novelty songs[ edit ] A station may stunt by temporarily formatting a series of novelty songsa song style that usually wouldn't support itself as a stand-alone commercial radio format.

This smooth transition works best if the formats have little to no normal overlap in their playlists, such as a shift from country music to rhythmic contemporary or alternative rock ; it may not be as effective or obvious if the transition is from, for example, modern rock to alternative rock.

This type of stunting does not occur as often as other forms, as the approach does not increase the shock and anticipation value as much as with the other forms. Christmas music[ edit ] The popular practice of radio stations playing Christmas music during the lead-up to and occasionally the week after Christmas Day has also been used as a means of transitioning to a new format, either following the conclusion of this programming, or in some cases, prematurely interrupting it instead.

The station defended the debut of its actual format, CHR Wired In Novemberthe station laid off its airstaff and switched to Christmas music again this time, over the holiday seasonemerging with a new variety hits format, Cruz FM, on December 26, On the day the merger was completed, KMPS switched to Christmas music, ostensibly for the holiday season. This model is not only applicable to aural phenomena, as the development of an NTSC standard for color television relied on the same kind of reasoning, one in which "compression, rather than verisimilitude" was the driving industrial rationale.

As the remaining sections of this essay explore, the first round of NTSC hearings, prior to those that decided a standard for color television, also operated according to a logic similar to that of Sterne's notion of perceptual technics, although these decisions were made according a logic in which perception was assumed to be multisensory, and the presence of noise was taken as a given part of the communication system.

For this reason, it is important to consider precedents for noise in the American broadcast system, specifically in AM radio, against which later developments in television would be framed by the NTSC.

Radio and Noise The problem of noise is central to debates in the history of radio, debates often effaced in discussions of the overlap between radio and early television, which was developed as the dominant definition of American radio was still up for grabs.

Although histories of television sound typically rely on an implicit assumption of radio's normative identity being that of AM network radio, radio was hardly a medium with a singular aesthetic identity from its supposed standardization as a mass medium for one-way broadcast in the s.

According to radio historians Christopher H. Sterling and Michael C.

Stunting (broadcasting) - Wikipedia

Keith, following the establishment of the major radio networks in the early s, On the surface, all seemed well, given radio's rapid rise to success over fifteen years. Naturally some were unhappy with one aspect or another of the increasingly commercial service, but one consistent complaint stood out: Electrical storms those that produced lightening could create crashing blasts of noise that all but wiped out any ability to appreciate radio's talk and music.

In the semitropical southern states, static interference with radio signals was a chronic problem for much of the year. All radio receivers suffered from the problem, and there seemed to be no solution. How to overcome static was radio's chief technical dilemma.

While allowing radio signals to travel distances great enough to justify infrastructural investment in radio as a national system, amplitude modulation also kept the sound of static tied to the sounds a system was intended to produce. That is, desirable and undesirable frequencies could not be parsed out from one another, with static frequencies rising or falling with the total volume of the system at a consistent signal-to-noise ratio of The career of Howard Armstrong, who essentially single-handedly established the viability of FM technology, demonstrates the extent to which regulatory decisions can inscribe aesthetic identities onto a media apparatus, a fact that is central to understanding the relationship between television and radio.

Farnsworth, and other prodigies of early television technology, Armstrong made a private fortune from radio patents, eventually becoming the largest shareholder in RCA. Armstrong's innovation in FM, a technology abandoned by other researchers bywas based not on any novel technological arrangement, but rather on the discovery that "trying to use FM in the narrow spectrum channels 10 kilohertz [kHz] then assigned to radio stations was nearly worthless.

In a hearing before the Federal Communications Commission FCC inArmstrong would argue his case for a shift to FM, over the objections of not only RCA but also television set manufacturers such as Zenith; both claimed that Armstrong's wideband system would interfere with the channel space planned for television. Despite these objections, Armstrong's suggestion of using the 41—50 MHz band for FM in kHz channels was granted, giving the superior fidelity of FM transmission an apparent victory.

Although the FM industry grew rapidly in the two years leading up to America's entry into World War II, a point at which the commercial electronics industry shifted to the production of military equipment, AM still dwarfed FM, both in terms of number of sets in use and in terms of number of stations broadcasting. By mid, "given increasing indications of rising postwar demand for all broadcast services," the FCC reopened hearings on spectrum allocation, and in earlyciting concerns over interference between the 41—50 MHz band occupied by FM and the soon-to-appear television stations situated immediately above this band, the commission shifted FM up to the 82— MHz band.

While fighting for an AM standard to preserve their business model, both NBC and CBS realized the diminishment of fidelity and increase in noise that this protocol engendered. As such, they sought to pursue FM, not as a sound-only protocol, but as a sound protocol to accompany the introduction of television.

radio broadcasting sound effects ending relationship

Seeking to avoid the original sin of static in the new medium, the networks and the FCC attempted to introduce FM television sound as a safeguard against the static that dogged the early history of radio. Despite FM's inherent capability for producing a clearer level of sound in comparison to AM, the realities of the broadcast environment, ranging from geographical impediments to set design, would see static emerge as the dominant aesthetic of early television, a historically contingent development with significant consequences for the development of practices of television spectatorship and auditorship.

Defining Noise in a Televisual Context According to Lynn Spigel, noise was a major issue in public discussions taking place in the s and s over the aesthetic and cultural value of television, a tension explored by comedian and former radio performer Ernie Kovacs in his pioneering work at NBC, which dealt with the concept of television silence as a response to the medium's penchant for noise.

Spigel notes, During the s newspaper critics and television viewers began to express displeasure for the high-pitched sales pitches of overzealous admen and the endless babble of TV programs.

The public distaste for television noise in turn fueled industry and even regulatory efforts to appeal to quieter, more refined tastes [. Noise, as it relates to the experience of television, is a highly overdetermined concept, and thus other valences of the term are in need of historical elaboration. Ernie Kovacs's No Talking episode, While television was a definite source of cultural noise during the s, it was also a source of technical noise.

As such, another way of understanding noise as it relates to the fidelity of the television system is through the technological models of midcentury communications research, specifically those produced by the scientists of Bell Labs. According to the seminal theorizations of researchers Claude Shannon and Warren Weaver, all communication systems can be reduced to channels for the transmission of information, systems in which noise exists as a permanent feature of signal processing.

Although Shannon and Weaver's theories have been primarily understood in relation to Bell's work in telephony, the company and its researchers had a longstanding interest in television, an interest reflected in Shannon and Weaver's writings.

These limits depended as much on surplus information—the presence of static or noise viewed as an addition to the system, as in Shannon and Weaver's formulation—as on a paucity of information—the way in which McLuhan understands television's image. Although the problem of noise can be seen in the discourse around experiments in televisual transmission dating as far back as the early s, the NTSC hearings of andwhich emerged following the success of researchers at RCA in developing a relatively high-definition image standard of more than lines, would codify this notion of noise as part of the standardized aesthetics of American television, with sound expected to compensate for an inherently noisy and unstable image.

As a result, noise became the defining aesthetic feature of television during the broadcast era. In part, noise is important because it qualifies the idea of flow, by suggesting that the experience of television viewing cannot be reduced simply to the kind of textual immersion flow is said to produce. Also, the centrality of noise to the NTSC-era experience of television viewing puts into relief the eventual transition to HDTV and multichannel sound that began in the s, which can be seen as attempting to overcome the regime of noise, and thus the attendant possibility of viewer distraction, in favor of a different televisual ontology.

NTSC Standards as Rationalization of Perceptual Experience In contrast with the haphazard development of national standards for radio during the s and s, the federal government hoped to roll out television in a more orderly fashion, in no small part to avoid an outcome like the one in which radio networks standardized the use of a technical protocol that was capable of only low-fidelity sound transmission.

The retrospective development of the Federal Radio Commission in —five years after the creation of Class B licenses—which allowed for the operation of high-powered stations capable of much greater geographic coverage, cordoned off amateur operators from the corporate radio business, and facilitated the formation of national radio networks, was unable to prevent AM from entrenching itself as the dominant transmission standard, keeping the higher-fidelity FM standard from reaching widespread use once it became a viable option.

With the benefit of immediate hindsight on this very recent failure of regulatory intervention into the national communications infrastructure, Congress attempted to stay ahead of the development of television by passing the Communications Act inright after the first boom in mechanical television—which yielded systems capable of producing no more than lines of horizontal resolution—had given way to the new higher-resolution all-electronic regime pioneered by RCA.

One of the major tasks of the FCC during this period was to negotiate the competing aesthetic standards for television, at the levels of both sound and image. During the process of standard-setting for early television, television aesthetics as codified by the NTSC were a matter of negotiating the relative levels of image and sound quality available within the respective technologies of radio sound and television image, an ideal that ultimately differed substantially from the actual experience of television.

Although television technicians aspired to the level of "naturalness" of photographic and optical sound cinema, NTSC ultimately codified a set of standards in which a discourse of fidelity gave way to a discourse of adequacy, a discourse in which noise figured as a central part of the television experience. The rationale offered by the NTSC for adopting standards prior to television's commercialization stressed the new medium's inherent affinities with radio, even though this was done in a way that largely overlooked the sonic aspects of television transmission.

According to a summary of the history of television regulation published with a transcription of the NTSC's recommendations, "television is an offshoot of sound broadcasting, part and parcel of the radio industry," an industry marked by "all too vivid a memory of the chaotic conditions in the early days of broadcasting," including the rushed adoption of the noise-plagued AM standard. What is at stake in framing these claims about the need for broadcast regulation is a claim about the degree of interference or noise acceptable within the televisual image, a claim that would rely on an implicit understanding of the "subjective aspects" of audiovision, one of nine subtopics the committee was tasked with addressing.

The assumptions underpinning the subjective aspects of the standards prescribed for the television system's visual characteristics often refer to the preservation of an original event, television's documentary function, as the most important aspect of the representation, a discourse characterized by the use of terms like "appropriate," "pleasing," and "natural.

Unlike cinema, which existed as a stable object projected within a continuous physical space, television's reliance on the broadcast spectrum necessitated accounting for a host of visual deficiencies, nearly all of which were discussed in terms of maximally acceptable limits rather than their possible elimination. For example, ideal picture resolution is acknowledged to be a "compromise between technical excellence and cost.

While the NTSC report cites dpi as the norm for a "very good half tone image," 75 dpi is deemed an adequate resolution "considering the distance at which television pictures are viewed at present," because it represents the point at which the grid-like arrangement of discrete dots is no longer visible.

Of particular importance in the committee's discussion are the concepts of "interference and noise. The discussion of sound in the NTSC report, though much less extensive than discussions of visual standards, evidences the extent to which sound was expected to offer a perceptual complement to an image marked by partiality, limitation, and lack of fidelity.

Of the twenty-two standards established by the report, a mere two prescriptions relate to sound. Among myriad guidelines for number of scan lines, image stabilization, refresh rate, brightness, aspect ratio, contrast ratio, gradation, interference, and other visual standards, television sound was reduced to a duet of principles: It shall be standard to use frequency modulation for the television sound transmission.

Sound Effect

It shall be standard to pre-emphasize the sound transmission in accordance with the impedance-frequency characteristic of a series inductance-resistance network having a time constant of microseconds.

According to the report, in deciding between an AM and an FM standard for television sound, "it was not clear that FM for television sound could be judged purely on its merits as a sound broadcasting medium, since its inclusion in the television channel might have other effects.

Rather than refer to the quality of sound itself offered by FM sound transmission, the NTSC report stressed the way FM would contribute to the overall television system, as part of a perceptual regime in which radio sound combined with the television image to produce a desired level of quality in spite of inferiorities that discussions of subjective aspects had argued could be rendered "imperceptible" or "unnoticeable" as isolated variables.

In part, FM was desirable because it would provide a scale-level cost savings.

Stunting (broadcasting)

Even though FM receivers were more expensive to produce, the relatively lower power demands of FM transmission meant that less energy was required on the transmission end, which would also produce a savings in terms of equipment capacity. But most of all, FM was prized for its ability to improve signal-to-noise ratio. According to the report, The f-m [sic] sound transmitter with one-half the carrier rating of the a-m [sic] transmitter will give an improvement in signal-to-noise ratio of at least 17 db [.

This is especially true in light of past experience, which indicates that considerable degradation of the picture will be tolerated if the accompanying sound is absolutely free from the usual objectionable noises.

radio broadcasting sound effects ending relationship

In assessing the ramifications of perceptual technics for a theory of political economy of media, Sterne notes, Like psychotechnics, ergonomics, and human factors, perceptual technics owes a political and philosophical debt to Taylorism. It also owes a debt to corporate liberalism, although the ubiquity of perceptual coding today suggests it is equally at home in neoliberal and global economies. Perceptual technics involves corporations, engineers, and other managing technologies in relation to statistical aggregates of people.

L]ike ergonomics, perceptual technics is an ambivalent innovation. One may be tempted to feel nostalgic for a prior moment in history when the human body itself was unalienated and was not subjected to politics or economy, but that would amount to nostalgia for the Middle Ages. As hearing research moved toward living subjects, even to objectify them, there was a new level of social engagement and exchange. For decades, cultural critics treated broadcast television as an aesthetically inferior medium, with its technically limited capacity for verisimilar representation in comparison to theatrical cinema standing metonymically for its larger lack of redeeming social value, a notion typified by FCC chairman Newton Minow's famous characterization of television as a "vast wasteland" in However, television's status as a low-fidelity medium is not simply a product of its impoverished data flow in comparison to either radio or cinema, but is also a product the standardization of surplus data, noise, as a routine part of the television experience.

As much as the domestic setting emphasized by sound theorists, noise is a feature that threatens to constantly unsettle the attentive viewing that underpins the political economy of American television. Although the NTSC was expected to decide on a set of standards capable of producing a televisual experience of clarity, reliability, and fidelity in comparison to the often indistinct, distorted, and contingent experience of AM radio sound, FM sound would ultimately fail to serve as the panacea for the built-in deficiencies of television's visual image.

As Max Dawson has demonstrated, for many Americans during the s, especially those living outside of major metropolitan areas, static was the most common form of signal to come across the televisual receiver. Of the practical realities of television sound broadcast and reception, he remarks, Technological possibilities for early television sound were further complicated by a wide variability in the range of frequencies reproducible in this medium.

On the transmission end, landlines connecting early network stations were at best capable of passing frequencies only up to 8, Hz, often considerably lower. While programming originated by local stations could offer high-fidelity audio, those received via network feed thus offered little to no improvement over standard AM radio broadcasts and fell well short of the full 15, Hz ceiling for which period transmitters were certified.

If flow's significance can be said to explain how television functions in service of corporate liberal ideology, noise explains the potential for television to work against these very same constraints by providing the possibility for the television viewer to be distracted, inattentive to, or distanced from the television set as a fact of the television signal itself. As Sterne observes, practices of media compression "often begin close to economic or technical considerations, but over time they take on a cultural life separate from their original, intended use.

For Attali, noise and its inverse—music—form a fundamental dialectic of social reality, "the audible waveband of the vibrations and signs that make up society. However, in also preserving residual noise, the aesthetic regime of television that emerged as a result of the medium's encounter with radio up through the NTSC hearings produces an awareness of the constructed nature of the televisual experience. The centrality of noise to the video art of Nam June Paik, perhaps most clearly on display in his Beatles Electroniquesshows the possibility for televisual noise to function expressively rather than simply as a barrier to a more perfect verisimilitude.

Nam June Paik, Beatles Electroniques, Beyond offering an important historical context for the emergence of television in the s and s, noise also provides a way to think about the divide between network-era American television and contemporary television, which, as the result of more than thirty years of research into higher-fidelity technologies, has undergone an aesthetic overhaul, one that has rendered the perceptual experience of television today dramatically different than it was during the network era.