World music is a musical category encompassing many different styles of music from around the globe, which includes many genres including some forms of Western music represented by folk music, Jazz, as well as selected forms of ethnic music, indigenous music, neotraditional music, music where more than one cultural tradition, such as ethnic music and Western popular music, intermingle. World music's inclusive nature and elasticity as a musical category may pose for some obstacles to a universal definition, but its ethic of interest in the culturally exotic is encapsulated in Roots magazine's description of the genre as "local music from out there"; the term was popularized in the 1980s as a marketing category for non-Western traditional music. Globalization has facilitated the expansion of scope, it has grown to include hybrid subgenres such as world fusion, global fusion, ethnic fusion, worldbeat. The term has been credited to ethnomusicologist Robert E. Brown, who coined it in the early 1960s at Wesleyan University in Connecticut, where he developed undergraduate through the doctoral programs in the discipline.
To enhance the process of learning, he invited more than a dozen visiting performers from Africa and Asia and began a world music concert series. The term became current in the 1980s as a marketing/classificatory device in the media and the music industry. There are several conflicting definitions for world music. One is that it consists of "all the music in the world", though such a broad definition renders the term meaningless; the term is taken as a classification of music that combines Western popular music styles with one of many genres of non-Western music that are described as folk music or ethnic music. However, world music is not traditional folk music, it may include cutting edge pop music styles as well. Succinctly, it can be described as "local music from out there", or "someone else's local music", it is a nebulous term with an increasing number of genres that fall under the umbrella of world music to capture musical trends of combined ethnic style and texture, including Western elements.
World music may incorporate distinctive non-Western scales, modes and/or musical inflections, features distinctive traditional ethnic instruments, such as the kora, the steel drum, the sitar or the didgeridoo. Music from around the world exerts wide cross-cultural influence as styles influence one another, in recent years world music has been marketed as a successful genre in itself. Academic study of world music, as well as the musical genres and individual artists associated with it appear in such disciplines as anthropology, performance studies and ethnomusicology. In the age of digital music production the increased availability of high-quality, ethnic music samples, sound bites and loops from every known region are used in commercial music production, which has exposed a vast spectrum of indigenous music texture to developing, independent artists; these influences proliferate in a web-based music industry, now percolating as a much larger, predominantly self-promoted menu, via an increasing number of indie-artist-friendly, streaming Internet options, such as Last.fm, Live365, Jango Artist Airplay and ReverbNation.
An amalgamation of roots music in the global, contemporary listening palette has become apparent, which weakens the role major entertainment labels can play in the cultural perception of genre boundaries. As a result, definitions of the genre have become varied, determined by wide-ranging and varied opinions. Similar terminology between distinctly different sub-categories under primary music genres, such as world and pop can be as ambiguous and confusing to industry moguls as it is to consumers; this is true in the context of world music, where branches of ethnically influenced pop trends are as genre-defined by consumer perception as they are by the music industry forums that govern the basis for categorical distinction. Academic scholars tend to agree that, in today's world of consumer music reviews and blogging, global music culture's public perception is what distils a prevailing basis for definition from genre ambiguity, regardless of how a category has been outlined by corporate marketing forums and music journalism.
The world music genre's gradual migration from a clear spectrum of roots music traditions to an extended list of hybrid subgenres is a good example of the motion genre boundaries can exhibit in a globalizing pop culture. The classic, original definition of world music was in part created to instill a perceived authenticity and distinction between indigenous music traditions and those that become diluted by pop culture, the modern debate over how possible it is to maintain that perception in the richly diverse genre of world music is ongoing. In a report on the 2014 globalFEST National Public Radio's Anastasia Tsioulcas said "Even within the "world music" community, nobody likes the term "world music." It smacks of all kinds of loaded issues, from cultural colonialism to questions about what's "authentic" and what isn't, forces an incredible array of styles that don't have anything in common under the label of "exotic Other." What's more: I believe that in many people's imaginations, "world music" means a kind of awful, hippy-ish, worldbeat fusion.
It's a problematic, horrible term that satisfies no one." Examples of popular forms of world music include the various forms of non-European classical music (e.g. Japanese koto and Chinese guzheng music, In
AM broadcasting is a radio broadcasting technology, which employs amplitude modulation transmissions. It was the first method developed for making audio radio transmissions, is still used worldwide for medium wave transmissions, but on the longwave and shortwave radio bands; the earliest experimental AM transmissions began in the early 1900s. However, widespread AM broadcasting was not established until the 1920s, following the development of vacuum tube receivers and transmitters. AM radio remained the dominant method of broadcasting for the next 30 years, a period called the "Golden Age of Radio", until television broadcasting became widespread in the 1950s and received most of the programming carried by radio. Subsequently, AM radio's audiences have greatly shrunk due to competition from FM radio, Digital Audio Broadcasting, satellite radio, HD radio and Internet streaming. AM transmissions are much more susceptible than FM or digital signals are to interference, have lower audio fidelity.
Thus, AM broadcasters tend to specialise in spoken-word formats, such as talk radio, all news and sports, leaving the broadcasting of music to FM and digital stations. The idea of broadcasting — the unrestricted transmission of signals to a widespread audience — dates back to the founding period of radio development though the earliest radio transmissions known as "Hertzian radiation" and "wireless telegraphy", used spark-gap transmitters that could only transmit the dots-and-dashes of Morse code. In October 1898 a London publication, The Electrician, noted that "there are rare cases where, as Dr. Lodge once expressed it, it might be advantageous to'shout' the message, spreading it broadcast to receivers in all directions". However, it was recognized that this would involve significant financial issues, as that same year The Electrician commented "did not Prof. Lodge forget that no one wants to pay for shouting to the world on a system by which it would be impossible to prevent non-subscribers from benefiting gratuitously?"On January 1, 1902, Nathan Stubblefield gave a short-range "wireless telephone" demonstration, that included broadcasting speech and music to seven locations throughout Murray, Kentucky.
However, this was transmitted using induction rather than radio signals, although Stubblefield predicted that his system would be perfected so that "it will be possible to communicate with hundreds of homes at the same time", "a single message can be sent from a central station to all parts of the United States", he was unable to overcome the inherent distance limitations of this technology. The earliest public radiotelegraph broadcasts were provided as government services, beginning with daily time signals inaugurated on January 1, 1905, by a number of U. S. Navy stations. In Europe, signals transmitted from a station located on the Eiffel tower were received throughout much of Europe. In both the United States and France this led to a small market of receiver lines designed geared for jewelers who needed accurate time to set their clocks, including the Ondophone in France, the De Forest RS-100 Jewelers Time Receiver in the United States The ability to pick up time signal broadcasts, in addition to Morse code weather reports and news summaries attracted the interest of amateur radio enthusiasts.
It was recognized that, much like the telegraph had preceded the invention of the telephone, the ability to make audio radio transmissions would be a significant technical advance. Despite this knowledge, it still took two decades to perfect the technology needed to make quality audio transmissions. In addition, the telephone had been used for distributing entertainment, outside of a few "telephone newspaper" systems, most of which were established in Europe. With this in mind, most early radiotelephone development envisioned that the device would be more profitably developed as a "wireless telephone" for personal communication, or for providing links where regular telephone lines could not be run, rather than for the uncertain finances of broadcasting; the person credited as the primary early developer of AM technology is Canadian-born inventor Reginald Fessenden. The original spark-gap radio transmitters were impractical for transmitting audio, since they produced discontinuous pulses known as "damped waves".
Fessenden realized that what was needed was a new type of radio transmitter that produced steady "undamped" signals, which could be "modulated" to reflect the sounds being transmitted. Fessenden's basic approach was disclosed in U. S. Patent 706,737, which he applied for on May 29, 1901, was issued the next year, it called for the use of a high-speed alternator that generated "pure sine waves" and produced "a continuous train of radiant waves of uniform strength", or, in modern terminology, a continuous-wave transmitter. Fessenden began his research on audio transmissions while doing developmental work for the United States Weather Service on Cobb Island, Maryland; because he did not yet have a continuous-wave transmitter he worked with an experimental "high-frequency spark" transmitter, taking advantage of the fact that the higher the spark rate, the closer a spark-gap transmission comes to producing continuous waves. He reported that, in the fall of 1900, he transmitted speech over a distance of about 1.6 kilometers, which appears to have been the first successful audio transmission using radio signals.
However, at this time the sound was far too distorted to be commercially practical. For a time he continued working with more sophist
Reggae is a music genre that originated in Jamaica in the late 1960s. The term denotes the modern popular music of Jamaica and its diaspora. A 1968 single by Toots and the Maytals, "Do the Reggay" was the first popular song to use the word "reggae," naming the genre and introducing it to a global audience. While sometimes used in a broad sense to refer to most types of popular Jamaican dance music, the term reggae more properly denotes a particular music style, influenced by traditional mento as well as American jazz and rhythm and blues the New Orleans R&B practiced by Fats Domino and Allen Toussaint, evolved out of the earlier genres ska and rocksteady. Reggae relates news, social gossip, political comment. Reggae spread into a commercialized jazz field, being known first as ‘Rudie Blues’ ‘Ska’ ‘Blue Beat’, ‘Rock Steady’, it is recognizable from the counterpoint between the bass and drum downbeat, the offbeat rhythm section. The immediate origins of reggae were in rocksteady. Reggae is linked to the Rastafari, an Afrocentric religion which developed in Jamaica in the 1930's, aiming at promoting Pan Africanism.
Soon after the Rastafarian movement appeared, the international popularity of reggae music became associated with and increased the visibility of Rastafarianism spreading the Rastafari gospel throughout the world. Reggae music is an important means of transporting vital messages of Rastafarianism; the musician becomes the messenger, as Rastafarians see it,"the soldier and the musician are tools for change."Stylistically, reggae incorporates some of the musical elements of rhythm and blues, mento and draws influence from traditional African folk rhythms. One of the most recognizable elements is offbeat rhythms; the tempo of reggae is slower paced than ska but faster than rocksteady. The concept of call and response can be found throughout reggae music; the genre of reggae music is led by the bass. Some key players in this sound are Jackie Jackson from Toots and the Maytals, Carlton Barrett from Bob Marley and the Wailers, Lloyd Brevett from The Skatalites, Paul Douglas from Toots and the Maytals, Lloyd Knibb from The Skatalites, Winston Grennan, Sly Dunbar, Anthony "Benbow" Creary from The Upsetters.
The bass guitar plays the dominant role in reggae. The bass sound in reggae is thick and heavy, equalized so the upper frequencies are removed and the lower frequencies emphasized; the guitar in reggae plays on the off beat of the rhythm. It is common for reggae to be sung in Jamaican Patois, Jamaican English, Iyaric dialects. Reggae is noted for its tradition of social criticism and religion in its lyrics, although many reggae songs discuss lighter, more personal subjects, such as love and socializing. Reggae has spread to many countries across the world incorporating local instruments and fusing with other genres. Reggae en Español spread from the Spanish speaking Central American country of Panama to the mainland South American countries of Venezuela and Guyana to the rest of South America. Caribbean music in the United Kingdom, including reggae, has been popular since the late 1960s, has evolved into several subgenres and fusions. Many reggae artists began their careers in the UK, there have been a number of European artists and bands drawing their inspiration directly from Jamaica and the Caribbean community in Europe.
Reggae in Africa was boosted by the visit of Bob Marley to Zimbabwe in 1980. In Jamaica, authentic reggae is one of the biggest sources of income; the 1967 edition of the Dictionary of Jamaican English lists reggae as "a estab. Sp. for rege", as in rege-rege, a word that can mean either "rags, ragged clothing" or "a quarrel, a row". Reggae as a musical term first appeared in print with the 1968 rocksteady hit "Do the Reggay" by The Maytals which named the genre of Reggae for the world. Reggae historian Steve Barrow credits Clancy Eccles with altering the Jamaican patois word streggae into reggae. However, Toots Hibbert said: There's a word we used to use in Jamaica called'streggae'. If a girl is walking and the guys look at her and say'Man, she's streggae' it means she don't dress well, she look raggedy; the girls would say that about the men too. This one morning me and my two friends were playing and I said,'OK man, let's do the reggay.' It was just something. So we just start. People tell me that we had given the sound its name.
Before that people had called it blue-beat and all kind of other things. Now it's in the Guinness World of Records. Bob Marley is said to have claimed that the word reggae came from a Spanish term for "the king's music"; the liner notes of To the King, a compilation of Christian gospel reggae, suggest that the word reggae was derived from the Latin regi meaning "to the king". Although influenced by traditional mento and calypso music, as well as American jazz and rhythm and blues, reggae owes its direct origins to the ska and rocksteady of 1960s Jamaica; the generic title for Jamaican music recorded between 1961 and 1967, ska emerged from Jamaican R&B, based on American R&B and doo-wop. Rastafari entered some countries through reggae music; the Rastafari moveme
Internet Protocol television is the delivery of television content over Internet Protocol networks. This is in contrast to delivery through traditional terrestrial and cable television formats. Unlike downloaded media, IPTV offers the ability to stream the source media continuously; as a result, a client media player can begin playing the content immediately. This is known as streaming media. Although IPTV uses the Internet protocol it is not limited to television streamed from the Internet. IPTV is deployed in subscriber-based telecommunications networks with high-speed access channels into end-user premises via set-top boxes or other customer-premises equipment. IPTV is used for media delivery around corporate and private networks. IPTV in the telecommunications arena is notable for its ongoing standardisation process. IPTV services may be classified into three main groups: Live television and live media, with or without related interactivity. Many different definitions of IPTV have appeared, including elementary streams over IP networks, MPEG transport streams over IP networks and a number of proprietary systems.
One official definition approved by the International Telecommunication Union focus group on IPTV is: IPTV is defined as multimedia services such as television/video/audio/text/graphics/data delivered over IP based networks managed to provide the required level of quality of service and experience, security and reliability. Another definition of IPTV, relating to the telecommunications industry, is the one given by Alliance for Telecommunications Industry Solutions IPTV Exploratory Group in 2005: IPTV is defined as the secure and reliable delivery to subscribers of entertainment video and related services; these services may include, for example, Live TV, Video On Demand and Interactive TV. These services are delivered across an access agnostic, packet switched network that employs the IP protocol to transport the audio and control signals. In contrast to video over the public Internet, with IPTV deployments, network security and performance are managed to ensure a superior entertainment experience, resulting in a compelling business environment for content providers and customers alike.
The term IPTV first appeared in 1995 with the founding of Precept Software by Judith Estrin and Bill Carrico. Precept developed an Internet video product named IP/TV. IP/TV was an Mbone compatible Windows and Unix-based application that transmitted single and multi-source audio and video traffic, ranging from low to DVD quality, using both unicast and IP multicast Real-time Transport Protocol and Real time control protocol; the software was written by Steve Casner, Karl Auerbach, Cha Chee Kuan. Precept was acquired by Cisco Systems in 1998. Cisco retains the IP/TV trademark. Internet radio company AudioNet started the first continuous live webcasts with content from WFAA-TV in January 1998 and KCTU-LP on 10 January 1998. Kingston Communications, a regional telecommunications operator in the UK, launched Kingston Interactive Television, an IPTV over digital subscriber line service in September 1999; the operator added additional VoD service in October 2001 with a VoD content provider. Kingston was one of the first companies in the world to introduce IPTV and IP VoD over ADSL as a commercial service.
The service became the reference for various changes to UK Government regulations and policy on IPTV. In 2006, the KIT service was discontinued, subscribers having declined from a peak of 10,000 to 4,000. In 1999, NBTel was the first to commercially deploy Internet protocol television over DSL in Canada using the Alcatel 7350 DSLAM and middleware created by iMagic TV; the service was marketed under the brand VibeVision in New Brunswick, expanded into Nova Scotia in early 2000 after the formation of Aliant. IMagic TV was sold to Alcatel. In 2002, Sasktel was the second in Canada to commercially deploy IPTV over DSL, using the Lucent Stinger DSL platform. In 2005, SureWest Communications was the first North American company to offer high-definition television channels over an IPTV service. In 2005, Bredbandsbolaget launched its IPTV service as the first service provider in Sweden; as of January 2009, they are not the biggest supplier any longer. In 2007, TPG became the first internet service provider in Australia to launch IPTV.
By 2010, iiNet and Telstra launched IPTV services in conjunction to internet plans. In 2008, Pakistan Telecommunication Company Limited launched IPTV under the brand name of PTCL Smart TV in Pakistan; this service is available in 150 major cities of the country offering 140 live channels. In 2010, CenturyLink – after acquiring Embarq and Qwest – entered five U. S. markets with an IPTV service called Prism. This was after successful test marketing in Florida. In 2016, Korean Central Television introduced the set-top box called Manbang providing video-on-demand services in North Korea via quasi-internet protocol television. Manbang allows viewers to watch five different TV channels in real-time, read find political information regarding the Supreme Leader and Juche ideology, read articles from state-run news organizations; the technology was hindered by low broadb
Jazz is a music genre that originated in the African-American communities of New Orleans, United States, in the late 19th and early 20th centuries, developed from roots in blues and ragtime. Jazz is seen by many as "America's classical music". Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression, it emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African-American and European-American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes and response vocals and improvisation. Jazz has roots in West African cultural and musical expression, in African-American music traditions including blues and ragtime, as well as European military band music. Intellectuals around the world have hailed jazz as "one of America's original art forms"; as jazz spread around the world, it drew on national and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine and blues with collective polyphonic improvisation.
In the 1930s arranged dance-oriented swing big bands, Kansas City jazz, a hard-swinging, improvisational style and Gypsy jazz were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music", played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines; the 1950s saw the emergence of free jazz, which explored playing without regular meter and formal structures, in the mid-1950s, hard bop emerged, which introduced influences from rhythm and blues and blues in the saxophone and piano playing. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay.
Other styles and genres abound in the 2000s, such as Afro-Cuban jazz. The origin of the word "jazz" has resulted in considerable research, its history is well documented, it is believed to be related to "jasm", a slang term dating back to 1860 meaning "pep, energy". The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a "jazz ball" "because it wobbles and you can't do anything with it"; the use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a musical context in New Orleans was in a November 14, 1916 Times-Picayune article about "jas bands". In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, "When Broadway picked it up, they called it'J-A-Z-Z', it wasn't called that. It was spelled'J-A-S-S'; that was dirty, if you knew what it was, you wouldn't say it in front of ladies."
The American Dialect Society named it the Word of the Twentieth Century. Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to the rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music, but critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as'swing'". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". In the opinion of Robert Christgau, "most of us would say that inventing meaning while letting loose is the essence and promise of jazz".
A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, group interaction, developing an'individual voice', being open to different musical possibilities". Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition". In contrast to commentators who have argued for excluding types of jazz, musicians are sometimes reluctant to define the music they play. Duke Ellington, one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues, a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations; these work songs were structured around a repetitive call-and-response pattern, but early blues was improvisational.
Classical music performance is evaluated more by its fidelity to the musical score, with less attention given to interpretation and accompaniment. The classical performer's goal is to play the composition. In contrast, jazz is characterized by the product of i
FM broadcasting is a method of radio broadcasting using frequency modulation technology. Invented in 1933 by American engineer Edwin Armstrong, wide-band FM is used worldwide to provide high-fidelity sound over broadcast radio. FM broadcasting is capable of better sound quality than AM broadcasting, the chief competing radio broadcasting technology, so it is used for most music broadcasts. Theoretically wideband AM can offer good sound quality, provided the reception conditions are ideal. FM radio stations use the VHF frequencies; the term "FM band" describes the frequency band in a given country, dedicated to FM broadcasting. Throughout the world, the FM broadcast band falls within the VHF part of the radio spectrum. 87.5 to 108.0 MHz is used, or some portion thereof, with few exceptions: In the former Soviet republics, some former Eastern Bloc countries, the older 65.8–74 MHz band is used. Assigned frequencies are at intervals of 30 kHz; this band, sometimes referred to as the OIRT band, is being phased out in many countries.
In those countries the 87.5–108.0 MHz band is referred to as the CCIR band. In Japan, the band 76–95 MHz is used; the frequency of an FM broadcast station is an exact multiple of 100 kHz. In most of South Korea, the Americas, the Philippines and the Caribbean, only odd multiples are used. In some parts of Europe and Africa, only multiples are used. In the UK odd or are used. In Italy, multiples of 50 kHz are used. In most countries the maximum permitted frequency error is specified, the unmodulated carrier should be within 2000 Hz of the assigned frequency. There are other unusual and obsolete FM broadcasting standards in some countries, including 1, 10, 30, 74, 500, 300 kHz. However, to minimise inter-channel interference, stations operating from the same or geographically close transmitter sites tend to keep to at least a 500 kHz frequency separation when closer frequency spacing is technically permitted, with closer tunings reserved for more distantly spaced transmitters, as interfering signals are more attenuated and so have less effect on neighboring frequencies.
Frequency modulation or FM is a form of modulation which conveys information by varying the frequency of a carrier wave. With FM, frequency deviation from the assigned carrier frequency at any instant is directly proportional to the amplitude of the input signal, determining the instantaneous frequency of the transmitted signal; because transmitted FM signals use more bandwidth than AM signals, this form of modulation is used with the higher frequencies used by TV, the FM broadcast band, land mobile radio systems. The maximum frequency deviation of the carrier is specified and regulated by the licensing authorities in each country. For a stereo broadcast, the maximum permitted carrier deviation is invariably ±75 kHz, although a little higher is permitted in the United States when SCA systems are used. For a monophonic broadcast, again the most common permitted. However, some countries specify a lower value for monophonic broadcasts, such as ±50 kHz. Random noise has a triangular spectral distribution in an FM system, with the effect that noise occurs predominantly at the highest audio frequencies within the baseband.
This can be offset, to a limited extent, by boosting the high frequencies before transmission and reducing them by a corresponding amount in the receiver. Reducing the high audio frequencies in the receiver reduces the high-frequency noise; these processes of boosting and reducing certain frequencies are known as pre-emphasis and de-emphasis, respectively. The amount of pre-emphasis and de-emphasis used is defined by the time constant of a simple RC filter circuit. In most of the world a 50 µs time constant is used. In the Americas and South Korea, 75 µs is used; this applies to both stereo transmissions. For stereo, pre-emphasis is applied to the left and right channels before multiplexing; the use of pre-emphasis becomes a problem because of the fact that many forms of contemporary music contain more high-frequency energy than the musical styles which prevailed at the birth of FM broadcasting. Pre-emphasizing these high frequency sounds would cause excessive deviation of the FM carrier. Modulation control devices are used to prevent this.
Systems more modern than FM broadcasting tend to use either programme-dependent variable pre-emphasis. Long before FM stereo transmission was considered, FM multiplexing of other types of audio level information was experimented with. Edwin Armstrong who invented FM was the first to experiment with multiplexing, at his experimental 41 MHz station W2XDG located on the 85th floor of the Empire State Building in New York City; these FM multiplex transmissions started in November 1934 and consisted of the main channel audio program and three subcarriers: a fax program, a synchronizing signal for the fax program and a telegraph “order” channel. These original FM multiplex subcarriers were amplitude modulated. Two musical programs, consisting of both the Red and Blue Network program feeds of the NBC Radio Network, were transmitted using the same system of subcarrier modulation as part of a studio-to-transmitter link system. In April 1935, the AM subcarriers were replaced with much improved results.
The first FM subcarrier transmissions emanating from Major Armstrong's experimental station KE2XCC at Alpine, New Jersey occurred in 1948. These transmissions consisted of two-cha
CFCB is an AM radio station in Corner Brook and Labrador, broadcasting at 570 kHz operating at a power of 10,000 watts daytime and 1,000 watts night time. Owned by Stingray Digital Group Inc, CFCB first went on the air on October 3, 1960; the station was founded by Dr. Noel Murphy. On March 26, 2012, CFCB rebranded, which included a new slogan and programming; the "Local News Now" slogan was adopted from VOCM in St. John's; the new CFCB logo features the VOCM color scheme, which includes yellow and red. As of September 2016, CFCB is branded as 570 VOCM. CFCB carries VOCM's Open Line and Night Line live phone-in shows, Saturday Evening Host Greg Smith, Producer Jordan Keating, the Saturday Night Cabin Party, devoted to classic country music from the 1950s to the 1980s, as well as the 1:00 PM and 5:30 PM VOCM newscasts, but not the 7:45 AM newscast, or the 5:00 PM newscast, as CFCB has its own 8:00 AM and 5:00 PM newscast; the station's regular music format is country music. Prior to the early 2000s, CFCB was an adult contemporary station.
The longest-running radio show on the station is This One's for You, broadcast every Saturday from 7:00 AM to 1:00 PM. After airing on Sunday mornings from 9AM-12PM since its inception, on January 29, 2017, CFCB announced that the program would be moved to Saturday mornings. No reason was given for the change, although this new time slot corresponds with The Irish Newfoundland Show, it is believed this change was made so CFCB could carry the syndicated talk programming bring broadcast Sunday mornings on VOCM. Without notice, on April 25, 2015 at 12:00am, CFCB along with its other network station CFSX dropped its country music format in favour of soft AC and classic hits; this format change was made on VOCM in St. John's just weeks prior, a network of which CFCB is part of. Both stations aired a country music format, but switched to classic hits. Due to this format change on CFCB, there are now no longer any country music stations outside of the Avalon peninsula. Since CFCB's rebrand to VOCM in late 2016, there have been significant changes to the station's programming.
Besides the elimination of all music in favour of talk, there is now no programming coming from Corner Brook. The only local programming that remains is the local weekday morning show from 6-9 am, This One's for You, the longest running radio program in the province, moved from Sunday to Saturday mornings; the majority of CFCB's programming now comes from VOCM in St. John's, or is syndicated from national networks, all of, talk in format. One of the notable syndicated programs is Coast to Coast AM, a paranormal show which fills the entire overnight period. CFCB operates rebroadcasters in the following locations: CFNW-FM 96.7 Port au Choix. CFSX 870 AM Stephenville CFGN-FM 96.7 Port aux Basques CFCV-FM 97.7 St. Andrew's CFDL-FM 97.9 Deer Lake CFNN-FM 97.9 St. Anthony For some time now, the repeater CFNW in Gros Morne National Park has been off the air leaving the Northern Peninsula without radio service from CFCB; the cause of this transmitter failure is due to an ice and wind storm in late 2011 which damaged the tower.
When the transmitter site was constructed in 1971, the area was not a national park. Now that the station has to construct a new facility for their equipment, there are some issues with disturbing the environment in the park, all that have yet to be resolved; as of 2012 the signal in this area is still off the air. On October 3, 2012, Newcap Broadcasting applied to convert CFNW to FM. On January 25, 2013, the CRTC approved Newcap's application to convert CFNW to FM. CFNW now operates at 96.7 MHz. In September 2013, the CFCB transmission tower in Corner Brook was taken down. Construction on a new tower has been completed with a modern three-legged guyed mast radiator; the previous mast radiator was over 50 years old prior to being taken down. The old mast radiator, according to the website www.broadcasting-history.ca, was a second hand tower, erected and begun broadcasting at 1000 watts in 1961. No CRTC or Industry Canada records indicate. However, according to the broadcasting-history.ca web site, the CRTC approved the daytime transmitting power to 10,000 watts from 1000 watts which could be achieved with the new and more modern mast radiator now located on the same plot of land that the previous one had been erected.
Photos of the old and new towers are illustrated below. In the daytime, CFSX operates independent of CFCB aside from the phone-in shows and the weekday 1:00 PM and 5:30 PM news. CFGN and CFCV serve as repeaters of CFSX. At night, CFSX and its repeaters serve as repeaters to CFCB. A full-time repeater of CFCB. On April 2, 2001, the sale of Humber Valley Broadcasting Co. Ltd. to Newcap Inc. was approved. This included a number of radio stations such as: CFCB Corner Brook CFDL-FM Deer Lake CFNW Port-aux-Choix CFNN-FM St. Anthony CFSX Stephenville CFGN Port-aux-Basques CFCV-FM St. Andrew's CFLN Goose Bay CFLW Wabush CFLC-FM Churchill FallsIn September 2016, CFSX and its repeaters were shut down by Newcap Radio without any notice; the station appears to now be serving as a full-time repeater of CFCB, changing its identity to VOCM. Before CFSX operated as a daytime station, served as a nighttime repeater to CFCB. VOCM CFCB AM history – Canad