WFMT (98.7 MHz ) is a commercial FM radio station in Chicago, Illinois, featuring a classical music radio format. It is managed by Window to the World Communications, Inc., owner of WTTW , Chicago's Public Broadcasting Service (PBS) member station. WFMT seeks donations on the air and on its website. The studios and offices are on North Saint Louis Avenue in Chicago.
121-545: WFMT has an effective radiated power (ERP) of 6,000 watts . The transmitter is atop the Willis Tower in Downtown Chicago . It broadcasts using HD Radio technology. WFMT has been broadcasting classical music since 1951. Its website says WFMT "strives to entertain, engage, and above all, respect its listeners with a quality and variety of programming found nowhere else." It is also the primary station of
242-721: A DJ controller device to mix audio files on a computer instead of a console mixer. DJs may also use a microphone to speak to the audience; effects units such as reverb to create sound effects and electronic musical instruments such as drum machines and synthesizers . Some of the most popular DJs are Skrillex , David Guetta , Porter Robinson , deadmau5 , Avicii , Calvin Harris , Martin Garrix , Marshmello , Zedd , Alan Walker , Eric Prydz , DJ Snake , R3HAB , Timmy Trumpet , Tiësto , Steve Aoki , Diplo , Nicky Romero , Lost Frequencies , Daft Punk . The term "disc jockey"
363-557: A DJ controller . Modern media players have the ability to stream music from online music providers such as Beatport, Beatsource, Tidal and SoundCloud GO. DJ mixers are small audio mixing consoles specialized for DJing. Most DJ mixers have far fewer channels than a mixer used by a record producer or audio engineer ; whereas standard live sound mixers in small venues have 12 to 24 channels, and standard recording studio mixers have even more (as many as 72 on large boards), basic DJ mixers may have only two channels. While DJ mixers have many of
484-521: A microphone , effects units such as reverb , and electronic musical instruments such as drum machines and synthesizers. As music technology has progressed, DJs have adopted different types of equipment to play and mix music, all of which are still commonly used. Traditionally, DJs used two turntables plugged into a DJ mixer to mix music on vinyl records. As compact discs became popular media for publishing music, specialized high-quality CD players known as CDJs were developed for DJs. CDJs can take
605-497: A waiver , and can exceed normal restrictions. For most microwave systems, a completely non-directional isotropic antenna (one which radiates equally and perfectly well in every direction – a physical impossibility) is used as a reference antenna, and then one speaks of EIRP (effective isotropic radiated power) rather than ERP. This includes satellite transponders , radar, and other systems which use microwave dishes and reflectors rather than dipole-style antennas. In
726-444: A New York-based collective and booking agency, describe themselves as "representing and showcasing cis women, trans women and genderqueer [ sic ] talent." In Japan, the newest Bushiroad franchise: D4DJ focuses on an all-women DJ unit. DJs use equipment that enables them to play multiple sources of recorded music and mix them to create seamless transitions and unique arrangements of songs. An important tool for DJs
847-622: A cellular telephone tower has a fixed linear polarization, but the mobile handset must function well at any arbitrary orientation. Therefore, a handset design might provide dual polarization receive on the handset so that captured energy is maximized regardless of orientation, or the designer might use a circularly polarized antenna and account for the extra 3 dB of loss with amplification. For example, an FM radio station which advertises that it has 100,000 watts of power actually has 100,000 watts ERP, and not an actual 100,000-watt transmitter. The transmitter power output (TPO) of such
968-482: A computer to fully take advantage of its features. The consumer-grade, regular sound card integrated into most computer motherboards can only output two channels (one stereo pair). However, DJs need to be able to output at least four channels (two stereo pairs, thus Left and Right for input 1 and Left and Right for input 2), either unmixed signals to send to a DJ mixer or the main output plus a headphone output. Additionally, DJ sound cards output higher-quality signals than
1089-699: A decisive influence on the club or a series of events. Per agreement with the management or company, the DJ would have to perform under agreed times and dates. Typically, DJs perform as residents for two or three times in a week, for example, on Friday and Saturday. DJs who make a steady income from a venue are also considered resident DJs. Examples for resident DJs are: In Western popular music , even though there are relatively few women DJs and turntablists, women musicians have achieved great success in singing and songwriting roles, however, they are given much less representation than men DJs. Part of this may stem from
1210-412: A deejay (DJ) is a reggae or dancehall musician who sings and " toasts " (recites poetry) to an instrumental riddim . Deejays are not to be confused with DJs from other music genres like hip hop, where they select and play music. Dancehall/reggae DJs who select riddims to play are called selectors. Deejays whose style is nearer to singing are sometimes called singjays . The term deejay originated in
1331-484: A demographic distinct from teenagers in the Bronx, Herc's parties had a ready-made audience. DJ Kool Herc developed the style that was the blueprint for hip hop music . Herc used the record to focus on a short, heavily percussive part in it: the " break ". Since this part of the record was the one the dancers liked best, Herc isolated the break and prolonged it by changing between two record players. As one record reached
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#17327767580511452-411: A feature commonly labelled "sync". Most DJ mixers now include a beat counter which analyzes the tempo of an incoming sound source and displays its tempo in beats per minute (BPM), which may assist with beatmatching analog sound sources. In the past, being a DJ has largely been a self-taught craft but with the complexities of new technologies and the convergence with music production methods, there are
1573-423: A feature known as "keylock". Some software analyzes the loudness of the music for automatic normalization with ReplayGain and detects the musical key. Additionally, DJ software can store cue points, set loops, and apply effects . As tablet computers and smartphones became widespread, DJ software was written to run on these devices in addition to laptops. DJ software requires specialized hardware in addition to
1694-464: A gain of 1× (equiv. 0 dBi). So ERP and EIRP are measures of radiated power that can compare different combinations of transmitters and antennas on an equal basis. In spite of the names, ERP and EIRP do not measure transmitter power, or total power radiated by the antenna, they are just a measure of signal strength along the main lobe. They give no information about power radiated in other directions, or total power. ERP and EIRP are always greater than
1815-489: A generally low percentage of women in audio technology-related jobs. A 2013 Sound on Sound article by Rosina Ncube stated that there are "... few women in record production and sound engineering ." Ncube states that "[n]inety-five percent of music producers are male, and although there are women producers achieving great things in music, they are less well-known than their counterparts." The vast majority of students in music technology programs are male. In hip hop music ,
1936-414: A growing number of schools and organizations that offer instruction on the techniques. In DJ culture, miming refers to the practice of DJ's pantomiming the actions of live-mixing a set on stage while a pre-recorded mix plays over the sound system. Miming mixing in a live performance is considered to be controversial within DJ culture. Some within the DJ community say that miming is increasingly used as
2057-461: A hardware mixer. Turntables allow DJs to play vinyl records. By adjusting the playback speed of the turntable, either by adjusting the speed knob or by manipulating the platter (e.g., by slowing down the platter by putting a finger gently along the side), DJs can match the tempos of different records so their rhythms can be played together at the same time without clashing or make a smooth, seamless transition from one song to another. This technique
2178-417: A laptop as a source of music instead of transporting CDs or vinyl records to gigs. Unlike most music player software designed for regular consumers , DJ software can play at least two audio files simultaneously, display the waveforms of the files on screen and enable the DJ to listen to either source. The waveforms allow the DJ to see what is coming next in the music and how the playback of different files
2299-423: A live audience in a nightclub or dance club or a TV, radio broadcast audience, or an online radio audience. DJs also create mixes, remixes and tracks that are recorded for later sale and distribution. In hip hop music , DJs may create beats, using percussion breaks , basslines and other musical content sampled from pre-existing records. In hip hop, rappers and MCs use these beats to rap over. Some DJs adopt
2420-405: A means to better mix and blend recorded music. These techniques primarily include the cueing , equalization and audio mixing of two or more sound sources. The complexity and frequency of special techniques depend largely on the setting in which a DJ is working. Radio DJs are less likely to focus on advanced music-mixing procedures than club DJs, who rely on a smooth transition between songs using
2541-544: A mixture of rare archival recordings and new studio recordings of poets, novelists, philosophers, scientists, actors and musicians. In addition to her extensive work with spoken arts programs, from 1972 until 2009 Lois Baum co-hosted with Norman Pellegrini nationally syndicated broadcasts from the Lyric Opera of Chicago . In August 2000, Steve Robinson was hired as general manager of WFMT. He had worked in classical music radio since 1967, and retired in 2016. Since going on
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#17327767580512662-658: A more creative manner (although turntablism is often considered a use of the turntable as a musical instrument rather than a tool for blending recorded music). Professional DJs may use harmonic mixing to choose songs that are in compatible musical keys. Other techniques include chopping , screwing and looping . Recent advances in technology in both DJ hardware and software can provide assisted or automatic completion of some traditional DJ techniques and skills. Examples include phrasing and beatmatching , which can be partially or completely automated by using DJ software that performs automatic synchronization of sound recordings,
2783-478: A motor to directly drive a platter on which a vinyl record rests. In 1969, Matsushita released it as the SP-10 , the first direct-drive turntable on the market, and the first in their influential Technics series of turntables. In 1972, Technics started making their SL-1200 turntable , featuring high torque direct drive design. The SL-1200 had a rapid start and its durable direct drive enabled DJs to manipulate
2904-443: A musical instrument. Perhaps the best-known turntablist technique is scratching . Turntablists often participate in DJ contests like DMC World DJ Championships and Red Bull 3Style. A resident DJ performs at a venue on a regular basis or permanently. They would perform regularly (typically under an agreement) in a particular discotheque, a particular club, a particular event, or a particular broadcasting station. Residents have
3025-403: A non-stopping flow of music. Mixing began with hip hop in the 1970s and would subsequently expand to other genres in especially (but not exclusively) dance music. One key technique used for seamlessly transitioning from one song to another is beatmatching . A DJ who mostly plays and mixes one specific music genre is often given the title of that genre; for example, a DJ who plays hip hop music
3146-426: A number of prominent women DJs: Hannah Wants , Ellen Allien , Miss Kittin , Monika Kruse , Nicole Moudaber , B.Traits , Magda , Nina Kraviz , Nervo , and Annie Mac . Two years later, another article brings out a list with world-famous women DJs including Nastia, tINY, Nora En Pure , Anja Schneider, Peggy Gou , Maya Jane Coles , and Eli & Fur . American DJ The Blessed Madonna has been called "one of
3267-643: A radio show on WFMT in 1952, remaining on the station until 1997. The station replays Terkel's noteworthy interviews on Friday nights. Carl Grapentine, former weekday breakfast host on WFMT, has served as the voice of the University of Michigan Marching Band since 1972 and has doubled as the public-address announcer at Michigan Stadium since 2006. He retired from full-time presenting in July 2018 but still continues to contribute programming. Two-time Peabody Award -winning audio dramatist Yuri Rasovsky , creator of
3388-436: A range of techniques. However, some radio DJs are experienced club DJs, so they use the same sophisticated mixing techniques. Club DJ turntable techniques include beatmatching , phrasing and slip-cueing to preserve energy on a dance floor. Turntablism embodies the art of cutting, beat juggling , scratching , needle drops , phase shifting , back spinning and more to perform the transitions and overdubs of samples in
3509-636: A significant impact on the American hip hop culture. DJ turntablism has origins in the invention of direct-drive turntables . Early belt-drive turntables were unsuitable for turntablism and mixing, since they had a slow start-up time, and they were prone to wear-and-tear and breakage, as the belt would break from backspinning or scratching. The first direct-drive turntable was invented by engineer Shuichi Obata at Matsushita (now Panasonic ), based in Osaka , Japan. It eliminated belts, and instead employed
3630-417: A special signal, referred to as "timecode", to control DJ software. The DJ software interprets changes in the playback speed, direction, and position of the timecode signal and manipulates the digital files it is playing in the same way that the turntable manipulates the timecode record. This requires a specialized DJ sound card with at least 4 channels (2 stereo pairs) of inputs and outputs. With this setup,
3751-423: A station typically may be 10,000–20,000 watts, with a gain factor of 5–10× (5–10×, or 7–10 dB ). In most antenna designs, gain is realized primarily by concentrating power toward the horizontal plane and suppressing it at upward and downward angles, through the use of phased arrays of antenna elements. The distribution of power versus elevation angle is known as the vertical pattern . When an antenna
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3872-475: A strong technological tendency such as DJing, sound engineering and producing" are "not necessarily about their dislike of these instruments but relates to the interrupting effect of their dominantly masculine delineations". Despite this, women and girls do increasingly engage in turntable and DJ practices, individually and collectively, and "carve out spaces for themselves in EDM and DJ Culture". A 2015 article cited
3993-574: A technique by celebrity model DJs who may lack mixing skills, but can draw big crowds to a venue. During a DJ tour for the release of the French group Justice 's A Cross the Universe in November 2008, controversy arose when a photograph of Augé DJing with an unplugged Akai MPD24 surfaced. The photograph sparked accusations that Justice's live sets were faked. Augé has since said that the equipment
4114-886: A theoretical isotropic antenna. Since a half-wave dipole antenna has a gain of 1.64 (or 2.15 dB ) compared to an isotropic radiator, if ERP and EIRP are expressed in watts their relation is E I R P ( W ) = 1.64 × E R P ( W ) {\displaystyle \ {\mathsf {EIRP}}_{\mathsf {(W)}}=1.64\times {\mathsf {ERP}}_{\mathsf {(W)}}\ } If they are expressed in decibels E I R P ( d B ) = E R P ( d B ) + 2.15 d B {\displaystyle \ {\mathsf {EIRP}}_{\mathrm {(dB)} }={\mathsf {ERP}}_{\mathrm {(dB)} }+2.15\ {\mathsf {dB}}\ } Effective radiated power and effective isotropic radiated power both measure
4235-983: Is E I R P ( d B W ) = P T X ( d B W ) − L ( d B ) + G ( d B i ) , {\displaystyle \ {\mathsf {EIRP}}_{\mathsf {(dB_{W})}}=P_{{\mathsf {TX}}\ {\mathsf {(dB_{W})}}}-L_{\mathsf {(dB)}}+G_{\mathsf {(dB_{i})}}\ ,} E R P ( d B W ) = P T X ( d B W ) − L ( d B ) + G ( d B i ) − 2.15 d B . {\displaystyle \ {\mathsf {ERP}}_{\mathsf {(dB_{W})}}=P_{{\mathsf {TX}}\ {\mathsf {(dB_{W})}}}-L_{\mathsf {(dB)}}+G_{\mathsf {(dB_{i})}}-2.15\ {\mathsf {dB}}~.} Losses in
4356-402: Is 8.77 dB d = 10.92 dB i . Its gain necessarily must be less than this by the factor η, which must be negative in units of dB. Neither ERP nor EIRP can be calculated without knowledge of the power accepted by the antenna, i.e., it is not correct to use units of dB d or dB i with ERP and EIRP. Let us assume a 100 watt (20 dB W ) transmitter with losses of 6 dB prior to
4477-422: Is a constant, i.e., 0 dB d = 2.15 dB i . Therefore, ERP is always 2.15 dB less than EIRP. The ideal dipole antenna could be further replaced by an isotropic radiator (a purely mathematical device which cannot exist in the real world), and the receiver cannot know the difference so long as the input power is increased by 2.15 dB. The distinction between dB d and dB i is often left unstated and
4598-423: Is a person who plays recorded music for an audience. Types of DJs include radio DJs (who host programs on music radio stations), club DJs (who work at nightclubs or music festivals ), mobile DJs (who are hired to work at public and private events such as weddings, parties, or festivals), and turntablists (who use record players, usually turntables , to manipulate sounds on phonograph records ). Originally,
4719-399: Is aligned. The software analyzes music files to identify their tempo and where the beats are. The analyzed information can be used by the DJ to help manually beatmatch like with vinyl records or the software can automatically synchronize the beats. Digital signal processing algorithms in software allow DJs to adjust the tempo of recordings independently of their pitch (and musical key ,
4840-538: Is also directional horizontally, gain and ERP will vary with azimuth ( compass direction). Rather than the average power over all directions, it is the apparent power in the direction of the peak of the antenna's main lobe that is quoted as a station's ERP (this statement is just another way of stating the definition of ERP). This is particularly applicable to the huge ERPs reported for shortwave broadcasting stations, which use very narrow beam widths to get their signals across continents and oceans. ERP for FM radio in
4961-411: Is an IEEE standardized definition of directional radio frequency (RF) power, such as that emitted by a radio transmitter . It is the total power in watts that would have to be radiated by a half-wave dipole antenna to give the same radiation intensity (signal strength or power flux density in watts per square meter) as the actual source antenna at a distant receiver located in the direction of
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5082-400: Is called a hip hop DJ, a DJ who plays house music is a house DJ, a DJ who plays techno is called a techno DJ, and so on. The quality of a DJ performance (often called a DJ mix or DJ set) consists of two main features: technical skills, or how well the DJ can operate the equipment and produce smooth transitions between two or more recordings and a playlist; and the ability of a DJ to select
5203-403: Is impacted upon by what he defines as "male technophilia ". Historian Ruth Oldenziel concurs in her writing on engineering with this idea of socialization as a central factor in the lack of engagement with technology. She says: an exclusive focus on women's supposed failure to enter the field – is insufficient for understanding how our stereotypical notions have come into being; it tends to put
5324-473: Is known as beatmatching . DJs typically replace the rubber mat on turntables that keep the record moving in sync with the turntable with a slipmat that facilitates manipulating the playback of the record by hand. With the slipmat, the DJ can stop or slow down the record while the turntable is still spinning. Direct-drive turntables are the type preferred by DJs. Belt-drive turntables are less expensive, but they are not suitable for turntablism and DJing, because
5445-406: Is larger it will be used instead. The maximum ERP for US FM broadcasting is usually 100,000 watts (FM Zone II) or 50,000 watts (in the generally more densely populated Zones I and I-A), though exact restrictions vary depending on the class of license and the antenna height above average terrain (HAAT). Some stations have been grandfathered in or, very infrequently, been given
5566-857: Is possible for a station of only a few hundred watts ERP to cover more area than a station of a few thousand watts ERP, if its signal travels above obstructions on the ground. ELF 3 Hz/100 Mm 30 Hz/10 Mm SLF 30 Hz/10 Mm 300 Hz/1 Mm ULF 300 Hz/1 Mm 3 kHz/100 km VLF 3 kHz/100 km 30 kHz/10 km LF 30 kHz/10 km 300 kHz/1 km MF 300 kHz/1 km 3 MHz/100 m HF 3 MHz/100 m 30 MHz/10 m VHF 30 MHz/10 m 300 MHz/1 m UHF 300 MHz/1 m 3 GHz/100 mm SHF 3 GHz/100 mm 30 GHz/10 mm EHF 30 GHz/10 mm 300 GHz/1 mm THF 300 GHz/1 mm 3 THz/0.1 mm Disc jockey A disc jockey , more commonly abbreviated as DJ ,
5687-438: Is quantified by the antenna gain , which is the ratio of the signal strength radiated by an antenna in its direction of maximum radiation to that radiated by a standard antenna. For example, a 1,000 watt transmitter feeding an antenna with a gain of 4× (equiv. 6 dBi) will have the same signal strength in the direction of its main lobe, and thus the same ERP and EIRP, as a 4,000 watt transmitter feeding an antenna with
5808-578: Is the only individual radio station that is an associate member of the European Broadcasting Union . The station signed on the air on May 16, 1948 ; 76 years ago ( 1948-05-16 ) . It originally held the call sign WOAK. The studios were in the Guyon Hotel and it operated at 98.3 MHz with an effective radiated power (ERP) of only 770 watts. The station was owned by Gale Broadcasting Company. By 1950,
5929-481: Is the same as ERP, except that a short vertical antenna (i.e. a short monopole ) is used as the reference antenna instead of a half-wave dipole . Cymomotive force ( CMF ) is an alternative term used for expressing radiation intensity in volts , particularly at the lower frequencies. It is used in Australian legislation regulating AM broadcasting services, which describes it as: "for a transmitter, [it] means
6050-423: Is the specialized DJ mixer , a small audio mixer with a crossfader and cue functions. The crossfader enables the DJ to blend or transition from one song to another. The cue knobs or switches allow the DJ to "listen" to a source of recorded music in headphones before playing it for the live club or broadcast audience. Previewing the music in headphones helps the DJ pick the next track they want to play, cue up
6171-448: Is typical for medium or longwave broadcasting, skywave , or indirect paths play a part in transmission, the waves will suffer additional attenuation which depends on the terrain between the antennas, so these formulas are not valid. Because ERP is calculated as antenna gain (in a given direction) as compared with the maximum directivity of a half-wave dipole antenna , it creates a mathematically virtual effective dipole antenna oriented in
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#17327767580516292-486: Is usually connected to the antenna through a transmission line and impedance matching network . Since these components may have significant losses L , {\displaystyle \ L\ ,} the power applied to the antenna is usually less than the output power of the transmitter P T X . {\displaystyle \ P_{\mathsf {TX}}~.} The relation of ERP and EIRP to transmitter output power
6413-619: The European Broadcasting Union . A live performance of the Chicago Symphony Orchestra was heard in the US, United Kingdom, France, Belgium, Switzerland, Italy, Sweden, and West Germany simultaneously. Richard Wagner 's Der Ring des Nibelungen was broadcast live for the first time as a digital transatlantic performance from the Bayreuth Festspielhaus to the US and Canada in 1983. In 1986, WFMT launched
6534-714: The Scotch Club , opened in Aachen and visiting journalist Klaus Quirini (later DJ Heinrich) made comments, conducted audience games, and announced songs while playing records. The first song he played was the hit Ein Schiff wird kommen by Lale Andersen . In the 1960s, Rudy Bozak began making the first DJ mixers , mixing consoles specialized for DJing. In the late 1960s to early 1970s Jamaican sound system culture, producer and sound system operator (DJ), (Jamaican) King Tubby and producer Lee "Scratch" Perry were pioneers of
6655-640: The "disc" in "disc jockey" referred to shellac and later vinyl records , but nowadays DJ is used as an all-encompassing term to also describe persons who mix music from other recording media such as cassettes , CDs or digital audio files on a CDJ , controller, or even a laptop. DJs may adopt the title "DJ" in front of their real names, adopted pseudonyms, or stage names. DJs commonly use audio equipment that can play at least two sources of recorded music simultaneously. This enables them to blend tracks together to create transitions between recordings and develop unique mixes of songs. This can involve aligning
6776-569: The 1960s and 1970s when performers such as U-Roy and King Stitt toasted over the instrumental ( dub music ) versions of popular records. These versions were often released on the flip side to the song's 45 record . This gave the deejays the chance to create on-the-fly lyrics to the music. Big Youth , and I-Roy were famous deejays in Jamaica. Turntablists, also called battle DJs, use turntables and DJ mixer to manipulate recorded sounds to produce new music. In essence, they use DJ equipment as
6897-419: The 1970s, DJs would have to lug heavy direct-drive turntables and crates of records to clubs and shows. In the 1980s, many DJs transitioned to compact cassettes . In the 1990s and 2000s, many DJs switched to using digital audio such as CDs and MP3 files. As technological advances made it practical to store large collections of digital music files on a laptop computer, DJ software was developed so DJs could use
7018-504: The Beethoven Satellite Network, a satellite delivered classical music programming service. It allows public radio stations to broadcast classical music during some hours of the day or around the clock, even if their budgets don't allow for a local staff or music library. The WFMT Fine Arts Circle, a member/listener support and funding group, was formed in 1991. In 1995, the station moved to its current location in
7139-431: The DJ software typically outputs unmixed signals from the music files to an external hardware DJ mixer . Some DJ mixers have integrated USB sound cards that allow DJ software to connect directly to the mixer without requiring a separate sound card. A DJ software can be used to mix audio files on the computer instead of a separate hardware mixer. When mixing on a computer, DJs often use a DJ controller device that mimics
7260-1195: The EIRP or ERP. Since an isotropic antenna radiates equal power flux density over a sphere centered on the antenna, and the area of a sphere with radius r {\displaystyle \ r\ } is A = 4 π r 2 {\displaystyle \ A=4\pi \ r^{2}\ } then S ( r ) = E I R P 4 π r 2 . {\displaystyle \ S(r)={\frac {\ {\mathsf {EIRP}}\ }{\ 4\pi \ r^{2}\ }}~.} Since E I R P = E R P × 1.64 , {\displaystyle \ \mathrm {EIRP} =\mathrm {ERP} \times 1.64\ ,} S ( r ) = 0.410 × E R P π r 2 . {\displaystyle \ S(r)={\frac {\ 0.410\times {\mathsf {ERP}}\ }{\ \pi \ r^{2}\ }}~.} After dividing out
7381-632: The FCC database shows the station's transmitter power output, not ERP. According to the Institution of Electrical Engineers (UK), ERP is often used as a general reference term for radiated power, but strictly speaking should only be used when the antenna is a half-wave dipole, and is used when referring to FM transmission. Effective monopole radiated power ( EMRP ) may be used in Europe, particularly in relation to medium wave broadcasting antennas. This
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#17327767580517502-525: The National Radio Theater of Chicago, began a decade-long association with WFMT in 1975. He is still heard periodically on The Midnight Special in his classic "Chicago Language Tape" skit. WFMT is noted for the longevity of various staff members. Norman Pellegrini joined the station as an announcer in 1952 and became program director in 1953, holding the position until disputes with the station owners forced him out in 1996. Ray Nordstrand
7623-495: The Soviet Union and China. In August 1976, the FCC granted WFMT temporary authority to simulcast on AM 1450, using the former facilities of WVON , which had moved its call sign and programming to another frequency the previous year. The simulcast continued until 1979, when Midway Broadcasting and Migala Enterprises were granted licenses to share time on the frequency. In 1980, WFMT became the first U.S. radio station to join
7744-559: The United States is always relative to a theoretical reference half-wave dipole antenna. (That is, when calculating ERP, the most direct approach is to work with antenna gain in dB d ). To deal with antenna polarization, the Federal Communications Commission (FCC) lists ERP in both the horizontal and vertical measurements for FM and TV. Horizontal is the standard for both, but if the vertical ERP
7865-587: The WTTW complex in Chicago's Northwest Side. The new facility included an all-digital path from studios to transmitter. The WFMT Jazz Satellite Network debuted two years later. In 2001, the station's transmitter was moved to the Sears Tower in downtown Chicago (now the Willis Tower ). WFMT celebrated its 50th anniversary on December 13, 2001, which Chicago Mayor Richard M. Daley declared WFMT Day . In 2003,
7986-428: The actual total power radiated by the antenna. The difference between ERP and EIRP is that antenna gain has traditionally been measured in two different units, comparing the antenna to two different standard antennas; an isotropic antenna and a half-wave dipole antenna: In contrast to an isotropic antenna, the dipole has a "donut-shaped" radiation pattern, its radiated power is maximum in directions perpendicular to
8107-432: The air in 1951, WFMT has garnered a strong reputation for technological innovation and sound quality. In 1958, WFMT and public television station WTTW collaborated on a pioneering stereo music project in which WTTW broadcast a left audio channel, and WFMT broadcast the right audio channel simultaneously. ( FM stereo broadcasting was not yet available.) WFMT broadcast a live concert in 1971 using Dolby noise reduction,
8228-426: The antenna itself are included in the gain. If the signal path is in free space ( line-of-sight propagation with no multipath ) the signal strength ( power flux density in watts per square meter) S {\displaystyle \ S\ } of the radio signal on the main lobe axis at any particular distance r {\displaystyle r} from the antenna can be calculated from
8349-505: The antenna's strongest beam ( main lobe ). ERP measures the combination of the power emitted by the transmitter and the ability of the antenna to direct that power in a given direction. It is equal to the input power to the antenna multiplied by the gain of the antenna. It is used in electronics and telecommunications , particularly in broadcasting to quantify the apparent power of a broadcasting station experienced by listeners in its reception area. An alternate parameter that measures
8470-1002: The antenna, declining to zero on the antenna axis. Since the radiation of the dipole is concentrated in horizontal directions, the gain of a half-wave dipole is greater than that of an isotropic antenna. The isotropic gain of a half-wave dipole is 1.64, or in decibels 10 log 10 ( 1.64 ) = 2.15 d B , {\displaystyle \ 10\ \log _{10}(1.64)=2.15\ {\mathsf {dB}}\ ,} so G i = 1.64 G d . {\displaystyle \ G_{\mathsf {i}}=1.64\ G_{\mathsf {d}}~.} In decibels G ( d B i ) = G ( d B d ) + 2.15 d B . {\displaystyle \ G_{\mathsf {(dB_{i})}}=G_{\mathsf {(dB_{d})}}+2.15\ {\mathsf {dB}}~.} The two measures EIRP and ERP are based on
8591-426: The antenna. ERP < 22.77 dB W and EIRP < 24.92 dB W , both less than ideal by η in dB. Assuming that the receiver is in the first side-lobe of the transmitting antenna, and each value is further reduced by 7.2 dB, which is the decrease in directivity from the main to side-lobe of a Yagi–Uda. Therefore, anywhere along the side-lobe direction from this transmitter, a blind receiver could not tell
8712-470: The beats of the music sources so their rhythms and tempos do not clash when played together and enable a smooth transition from one song to another. DJs often use specialized DJ mixers , small audio mixers with crossfader and cue functions to blend or transition from one song to another. Mixers are also used to pre-listen to sources of recorded music in headphones and adjust upcoming tracks to mix with currently playing music. DJ software can be used with
8833-429: The belt-drive motor can be damaged by this type of manipulation. Some DJs, most commonly those who play hip hop music, go beyond merely mixing records and use turntables as musical instruments for scratching , beat juggling , and other turntablism techniques. CDJs / media players are high-quality digital media players made for DJing. They often have large jog wheels and pitch controls to allow DJs to manipulate
8954-537: The burden of proof entirely on women and to [unreasonably] blame them for their supposedly inadequate socialization, their lack of aspiration, and their want of masculine values. An equally challenging question is why and how boys have come to love things technical, how boys have historically been socialized as technophiles. Lucy Green has focused on gender in relation to musical performers and creators, and specifically on educational frameworks as they relate to both. She suggests that women's alienation from "areas that have
9075-575: The case of medium wave (AM) stations in the United States , power limits are set to the actual transmitter power output, and ERP is not used in normal calculations. Omnidirectional antennas used by a number of stations radiate the signal equally in all horizontal directions. Directional arrays are used to protect co- or adjacent channel stations, usually at night, but some run directionally continuously. While antenna efficiency and ground conductivity are taken into account when designing such an array,
9196-402: The country's best broadcaster in the small-station category. WFMT also aired a discussion between Frank Lloyd Wright and Carl Sandburg , which was simulcast with WTTW, marking the first collaboration between WTTW and WFMT. Another collaboration occurred the following year, as the two stations began a pioneering stereo music project in which WTTW broadcast a left audio channel, and WFMT broadcast
9317-593: The crossfader provides only the channel A sound source. The far right side provides only the channel B sound source (e.g., record player number 2). Positions in between the two extremes provide different mixes of the two channels. Some DJs use a computer with DJ software and a DJ controller instead of an analog DJ mixer to mix music, although DJ software can be used in conjunction with a hardware DJ mixer. DJs generally use higher-quality headphones than those designed for music consumers. DJ headphones have other properties useful for DJs, such as designs that acoustically isolate
9438-403: The difference if a Yagi–Uda was replaced with either an ideal dipole (oriented towards the receiver) or an isotropic radiator with antenna input power increased by 1.57 dB. Polarization has not been taken into account so far, but it must be properly clarified. When considering the dipole radiator previously we assumed that it was perfectly aligned with the receiver. Now assume, however, that
9559-476: The direction of the receiver. In other words, a notional receiver in a given direction from the transmitter would receive the same power if the source were replaced with an ideal dipole oriented with maximum directivity and matched polarization towards the receiver and with an antenna input power equal to the ERP. The receiver would not be able to determine a difference. Maximum directivity of an ideal half-wave dipole
9680-519: The early 1990s, the only time in its history, proved unpopular with listeners. All advertising on the station would be read exclusively by WFMT's on-air hosts . In 1976, WFMT created the Fine Arts Network for broadcast syndication of the Chicago Symphony Orchestra and the Lyric Opera . In 1979, WFMT became America's first radio superstation , delivered by satellite and cable systems across the United States and dozens of countries, including
9801-621: The end of the break, he cued a second record back to the beginning of the break, which allowed him to extend a relatively short section of music into a "five-minute loop of fury". This innovation had its roots in what Herc called "The Merry-Go-Round", a technique by which the DJ switched from break to break at the height of the party. This technique is specifically called "The Merry-Go-Round" because according to Herc, it takes one "back and forth with no slack." Radio DJs or radio personalities introduce and play music broadcasts on AM , FM , digital or Internet radio stations. In Jamaican music ,
9922-474: The environment of DJ usually tends to be very noisy. Standard headphones have a 3.5mm jack but DJ equipment usually requires ¼ inch jack. Most specialized DJ Headphones have an adapter to switch between a 3.5mm jack and ¼ inch jack. Detachable coiled cables are perfect for DJ Headphones. DJs have changed their equipment as new technologies are introduced. The earliest DJs in pop music, in 1970s discos, used record turntables , vinyl records and audio consoles . In
10043-434: The factor of π , {\displaystyle \ \pi \ ,} we get: S ( r ) = 0.131 × E R P r 2 . {\displaystyle \ S(r)={\frac {\ 0.131\times {\mathsf {ERP}}\ }{\ r^{2}\ }}~.} However, if the radio waves travel by ground wave as
10164-575: The first station to do so. In 1974 it broadcast for the first time in four-channel ( quadrophonic ) sound, a live performance of the Chicago Lyric Opera's presentation of Rossini's Semiramide . In 1978, WFMT participated in the first stereo relay of a live performance via satellite, from the San Francisco Opera . In 1979, WFMT was one of the first local FM stations to re-broadcast its programming via satellite. This feed
10285-476: The first time in 1987, and was once again chosen by Sony to broadcast from a MiniDisc in 1992, to demonstrate the subtle differences between an MD and a CD. WFMT also broadcasts in HD . 41°52′44.1″N 87°38′8.2″W / 41.878917°N 87.635611°W / 41.878917; -87.635611 Effective radiated power Effective radiated power ( ERP ), synonymous with equivalent radiated power ,
10406-476: The genre known as dub music . They experimented with tape-based composition ; emphasized repetitive rhythmic structures (often stripped of their harmonic elements); electronically manipulated spatiality; sonically manipulated pre-recorded musical materials from mass media; and remixed music among other innovative techniques. It is widely known that the Jamaican dancehall culture has had and continues to have
10527-419: The layout of two turntables plus a DJ mixer to control the software rather than the computer keyboard & touchpad on a laptop, or the touchscreen on a tablet computer or smartphone . Many DJ controllers have an integrated sound card with 4 output channels (2 stereo pairs) that allow the DJ to use headphones to preview music before playing it on the main output. Several techniques are used by DJs as
10648-480: The low percentage of women DJs and turntablists may stem from the overall men's domination of the entire hip hop music industry. Most of the top rappers, MCs, DJs, record producers and music executives are men. There are a small number of high-profile women, but they are rare. In 2007, Mark Katz's article "Men, Women, and Turntables: Gender and the DJ Battle", stated that "very few women [do turntablism] battle[s];
10769-582: The mass marketing of home phonographs in the late 19th century. British radio disc jockey Jimmy Savile hosted his first live dance party in 1943 using a single turntable and a makeshift sound system. Four years later, Savile began using two turntables welded together to form a single DJ console. In 1947, the Whisky à Gogo opened in Paris as the first discotheque . In 1959, one of the first discos in Germany,
10890-402: The matter has been a topic of conversation among hip-hop DJs for years." In 2010, Rebekah Farrugia said "the male-centricity of electronic dance music (EDM) culture" contributes to "a marginalisation of women in these [EDM] spaces." While turntablism and broader DJ practices should not be conflated, Katz suggests use or lack of use of the turntable broadly by women across genres and disciplines
11011-614: The most suitable recordings, also known as "reading the crowd". DJ Kool Herc , Grandmaster Flash , and Afrika Bambaataa were members of a block party at South Bronx from 1973 onwards. Kool Herc played records such as James Brown's " Give It Up or Turnit a Loose ", Jimmy Castor's " It's Just Begun ", Booker T. & the M.G.'s' " Melting Pot ", Incredible Bongo Band's " Bongo Rock " and " Apache ", and UK rock band Babe Ruth's " The Mexican ". With Bronx clubs struggling with street gangs, uptown DJs catering to an older disco crowd with different aspirations, and commercial radio also catering to
11132-494: The motor would continue to spin at the correct RPM even if the DJ wiggled the record back and forth on the platter. In 1980, Japanese company Roland released the TR-808 , an analog rhythm/drum machine , which has unique artificial sounds, such as its booming bass and sharp snare , and a metronome -like rhythm . Yellow Magic Orchestra 's use of the instrument in 1980 influenced hip hop pioneer Afrika Bambaataa, after which
11253-897: The nationally syndicated WFMT Radio Network and a jazz network available to other public radio stations around the U.S. Hosts on WFMT include Candice Agree, Lisa Flynn, Kerry Frumkin, LaRob K.Rafael, Jan Weller, David Schwan, Kristina Lynn, and Peter Van de Graaff . Weeknights, Exploring Music with Bill McGlaughlin is heard. Weekly broadcasts include the Chicago Symphony Orchestra , New York Philharmonic , San Francisco Symphony Orchestra and Metropolitan Opera . Weekends feature shows on baroque music, folk music, Latin American classical music, and chamber music. The syndicated weekly show With Heart and Voice airs Sunday mornings. On Saturday at twelve o'clock they have an opera. Programs can be heard through its satellite services and online via several streaming services. WFMT
11374-418: The place of turntables or be used together with turntables. Many CDJs can now play digital music files from USB flash drives or SD cards in addition to CDs. With the spread of portable laptops, tablets , and smartphone computers, DJs began using software together with specialized sound cards and DJ controller hardware. DJ software can be used in conjunction with a hardware DJ mixer or be used instead of
11495-491: The platter, as with scratching techniques. Hip hop DJs began using the Technics SL-1200s as musical instruments to manipulate records with turntablism techniques such as scratching and beat juggling rather than merely mixing records. These techniques were developed in the 1970s by DJ Kool Herc , Grand Wizard Theodore , and Afrika Bambaataa , as they experimented with Technics direct-drive decks, finding that
11616-400: The playback of digital files for beatmatching similar to how DJs manipulate vinyl records on turntables. CDJs often have features such as loops and waveform displays similar to DJ software. Originally designed to play music from compact discs, they now can play digital music files stored on USB flash drives and SD cards . Some CDJs can also connect to a computer running DJ software to act as
11737-428: The power density a radio transmitter and antenna (or other source of electromagnetic waves) radiate in a specific direction: in the direction of maximum signal strength (the " main lobe ") of its radiation pattern. This apparent power is dependent on two factors: The total power output and the radiation pattern of the antenna – how much of that power is radiated in the direction of maximal intensity. The latter factor
11858-410: The present-day 98.7 MHz. In 1956, WFMT aired a live recording of a folk concert with Pete Seeger and Big Bill Broonzy at Northwestern University . In 1968, WFMT began around-the-clock broadcasting. That same year, Bernard Jacobs sold WFMT to WGN-TV 's Continental Broadcasting Company for $ 810,000, which in turn donated the station to WTTW two years later. In 1969, the station's transmitter
11979-441: The product, expressed in volts, of: It relates to AM broadcasting only, and expresses the field strength in " microvolts per metre at a distance of 1 kilometre from the transmitting antenna". The height above average terrain for VHF and higher frequencies is extremely important when considering ERP, as the signal coverage ( broadcast range ) produced by a given ERP dramatically increases with antenna height. Because of this, it
12100-449: The reader is sometimes forced to infer which was used. For example, a Yagi–Uda antenna is constructed from several dipoles arranged at precise intervals to create greater energy focusing (directivity) than a simple dipole. Since it is constructed from dipoles, often its antenna gain is expressed in dB d , but listed only as dB. This ambiguity is undesirable with respect to engineering specifications. A Yagi–Uda antenna's maximum directivity
12221-464: The receiving antenna is circularly polarized, and there will be a minimum 3 dB polarization loss regardless of antenna orientation. If the receiver is also a dipole, it is possible to align it orthogonally to the transmitter such that theoretically zero energy is received. However, this polarization loss is not accounted for in the calculation of ERP or EIRP. Rather, the receiving system designer must account for this loss as appropriate. For example,
12342-859: The right audio channel simultaneously. WFMT won another Alfred I. DuPont Award in 1960, this time as the country's best broadcaster in the large-station category. In 1961, the station won its first Peabody Award . Its ERP was increased to 120,000 watts the same year. In 1962, WFMT began broadcasting a majority of its programming in stereo. In 1964, Hi Fi/Stereo Review readers voted WFMT the best station in Chicago in terms of audio quality. The station's first series of Chicago Symphony Orchestra concerts began in 1965. WFMT has won numerous first place Major Armstrong awards for excellence and originality in radio broadcasting and special awards for engineering and technical achievement. Several noteworthy individuals have worked at WFMT in its history. Award-winning stage and film director, writer, and producer Mike Nichols , at
12463-433: The same features found on larger mixers (faders, equalization knobs, gain knobs, effects units , etc.), DJ mixers have a feature that is usually only found on DJ mixers: the crossfader . The crossfader is a type of fader that is mounted horizontally. DJs used the crossfader to mix two or more sound sources. The midpoint of the crossfader's travel is a 50/50 mix of the two channels (on a two-channel mixer). The far left side of
12584-442: The same thing is effective isotropic radiated power ( EIRP ). Effective isotropic radiated power is the hypothetical power that would have to be radiated by an isotropic antenna to give the same ("equivalent") signal strength as the actual source antenna in the direction of the antenna's strongest beam. The difference between EIRP and ERP is that ERP compares the actual antenna to a half-wave dipole antenna, while EIRP compares it to
12705-404: The sound cards built into consumer-grade computer motherboards. Special vinyl records (or CDs/digital files played with CDJs ) can be used with DJ software to play digital music files with DJ software as if they were pressed onto vinyl, allowing turntablism techniques to be used with digital files. These vinyl records do not have music recordings pressed onto them. Instead, they are pressed with
12826-487: The sounds of the headphones from the outside environment (hard shell headphones), flexible headbands and pivot joints to allow DJs to listen to one side of the headphones while turning the other headphone away (so they can monitor the mix in the club), and replaceable cables. Replaceable cables enable DJs to buy new cables if a cable becomes frayed, worn, or damaged, or if a cable is accidentally cut. Closed-back headphones are highly recommended for DJs to block outside noise as
12947-433: The station began syndication of the program " Exploring Music with Bill McGlaughlin ", an informational weekday program on various themes in classical music. It was created by Steve Robinson and is now carried by over 50 stations in the U.S. and is heard by over 400,000 people each week. WFMT also launched a Fine Arts Hotline for the Chicago area that same year. In 1957, the station received an Alfred I. DuPont Award as
13068-480: The station's engineer, and Rita as the station's announcer. In 1952, WFMT began publishing a biweekly program guide, which later became Chicago magazine. In 1953, programming was expanded to 18 hours per day. In 1954, WFMT's studios and transmitter were moved to the LaSalle-Wacker Building , increasing its HAAT to 547 feet. The station's ERP was also increased and its frequency was changed to
13189-526: The station's frequency had been changed to 105.9 MHz, and its ERP was increased to 9,300 watts. WOAK generally aired pop music, but also featured classical music programs and dramas. The number of Chicago radio stations that aired classical music programs was small, but none compared to WFMT. In 1951, the station's call sign was changed to WFMT. Bernard and Rita Jacobs launched WFMT's classical music/fine arts radio format on December 13, 1951. They began with 8-hour-a-day broadcasts, with Bernard serving as
13310-505: The time a student at the University of Chicago , joined the station in 1951. Nichols started the folk music program The Midnight Special in 1953. In 1983, Rich Warren became a co-host of The Midnight Special , and later became its sole host in 1996. Rich Warren continued as host of The Midnight Special until 2020.The show still airs weekly on WFMT, with Marilyn Rea Beyer as the host. Noted author and broadcaster Studs Terkel began
13431-659: The title "DJ" as part of their names (e.g., DJ Jazzy Jeff , DJ Qbert , DJ Shadow and DJ Yoda ). Professional DJs often specialize in a specific genre of music, such as techno , house or hip hop music. DJs typically have extensive knowledge about the music they specialize in. Many DJs are avid music collectors of vintage, rare or obscure tracks and records. Club DJs, commonly referred to as DJs in general, play music at musical events, such as parties at music venues or bars, clubs, music festivals, corporate and private events. Typically, club DJs mix music recordings from two or more sources using different mixing techniques to produce
13552-435: The track to the desired starting location, and align the two tracks' beats in traditional situations where auto-sync technology is not being used. This process ensures that the selected song will mix well with the currently playing music. DJs may align the beats of the music sources so their rhythms do not clash when they are played together to help create a smooth transition from one song to another. Other equipment may include
13673-789: The two different standard antennas above: Since the two definitions of gain only differ by a constant factor, so do ERP and EIRP E I R P ( W ) = 1.64 × E R P ( W ) . {\displaystyle \ {\mathsf {EIRP}}_{\mathsf {(W)}}=1.64\times {\mathsf {ERP}}_{\mathsf {(W)}}~.} In decibels E I R P ( d B W ) = E R P ( d B W ) + 2.15 d B . {\displaystyle \ {\mathsf {EIRP}}_{\mathsf {(dB_{W})}}={\mathsf {ERP}}_{\mathsf {(dB_{W})}}+2.15\ {\mathsf {dB}}~.} The transmitter
13794-569: The world's most exciting turntablists". Her stage name is a tribute to her mother's favorite Catholic saint, Black Madonna . In 2018, The Blessed Madonna played herself as an in-residence DJ for the video game Grand Theft Auto Online , as part of the After Hours DLC . There are various projects dedicated to the promotion and support of these practices such as Female DJs London. Some artists and collectives go beyond these practices to be more gender inclusive. For example, Discwoman ,
13915-602: Was hired as an announcer, also in 1953. He later became the assistant of original owner Bernard Jacobs. Nordstrand moved up to the position of president and general manager in 1970. After suffering a heart attack in 1993, Nordstrand worked as a part-time consultant to the station. Don Tait , who had been called a "a seminal figure in the history of WFMT", worked as a host from June 1972 until his retirement in October 2007. His interest in archival recordings of conductors such as Willem Mengelberg , Bruno Walter , and Leopold Stokowski
14036-730: Was moved to the Prudential Building , and in 1971 its transmitter was moved to the John Hancock Center . Several classical music stations were found on the FM dial in Chicago in the 1950s, 1960s, 1970s and 1980s. They included WEFM 99.5, WXFM 105.9, WFMQ 107.5, WJJD at 104.3 and WNIB 97.1. They all changed formats by the 1990s. While WFMT was a station supported by the sales of commercials , it aired no pre-recorded (by non-station hosts) advertising. A brief attempt at introducing pre-recorded commercial advertising in
14157-600: Was often reflected in his programming. Among the programs he hosted were Collector's Item and Chicago Symphony Retrospective . Another key contributor to WFMT's success was Associate Program Director Lois Baum. Arriving at the station from KPFK in California in July 1964, Baum produced and oversaw the production of countless spoken arts programs and features. She produced the Critic's Choice series, regular broadcasts of reviews and commentary by artist Harry Bouras (whose name
14278-645: Was ostensibly coined by radio gossip commentator Walter Winchell in 1935 to describe the radio work of Martin Block . The phrase first appeared in print in a 1941 Variety magazine. Originally, the word "disc" in "disc jockey" referred to phonograph or gramophone records and was used to describe radio personalities who introduced them on the air. "DJ" is used as an all-encompassing term to describe someone who mixes recorded music from any source, including vinyl records , cassettes , CDs, or digital audio files stored on USB stick or laptop. DJs typically perform for
14399-412: Was received by cable companies (who transmitted WFMT's programming to their subscribers), as well as by home TVRO users. In 1982, WFMT moved into the digital era, being chosen by Sony and Philips to be the first station in the world to broadcast music from the compact disc format, thanks to the station's reputation for high audio standards. The station broadcast material from Digital Audio Tape for
14520-477: Was the inspiration for the playful Chicago art group, the "Hairy Who" ), theater critic Claudia Cassidy , and journalist and author Herman Kogan. Baum selected and programmed plays and readings produced by the BBC and by the National Radio Theater of Chicago, and created The Storytellers , a program devoted to short stories. With co-producer George Drury, she created Word of Mouth , a spoken arts program that presented
14641-455: Was unplugged very briefly before being reattached and the band put a three-photo set of the incident on their MySpace page. After a 2013 Disclosure concert, the duo was criticized for pretending to live mix to a playback of a pre-recorded track. Disclosure's Guy Lawrence said they did not deliberately intend to mislead their audience, and cited miming by other DJs such as David Guetta . Playing recorded music for dancing and parties rose with
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