Manufacturers of these portable radios have come up with different designs in order to make it possible for you to select among a wide variety. There are numerous portable radios a good example would include the Tescun Mp3 FM radio.

As earlier mentioned with the Tescun portable radios you will be able to start off your day with a positive approach as you entertain yourself with your most loved songs. Since it is portable you can move around with it around the house and listen to music or the latest news from the bath room, bedroom as you dress then to the dining table as you have your breakfast and even carry it to your car and continue being entertained as you drive.

The Tescun portable radios are quite effective and provide a lot of variety due to the fact that it has up to 100 radio frequencies. This has been made possible due to the fact that it is an mp3 player radio. These particular models of portable radios have been produced with the latest technology which enables it to remain functional for a long duration of time without power. This is the one of the main factors that makes this radio portable.

When compared to the old fashioned radios, the portable radios operate through digital signal processing. Tescun portable radios also have an electronic clock which functions independently through AA batteries. At no time will the clock ever be affected by the real time AC power. This means the timing will always be accurate.  Tescun portable radios are made using some of the best materials. You are therefore assured that they will last for a long time. As earlier mentioned, portable radios have no restrictions as to where or when you can listen to it. You can also buy it as a gift for your loved ones.

Portable radios will turn your usual boring days into pleasurable once as you get entertained with beautiful relaxing music, no matter wherever you are. You will also be updated on the current news. Portable radios have more than 100 radio frequencies therefore at no point or time will you ever lack anything interesting to listen to since you have a wide choice to select from as you move from one frequency to another.  These small side devices are easy to carry and will keep you updated and entertained all the time.

Anyone know of or tried a fm transmitter for their storm 2? I am in the market for one so I can play my playlists and pandora while on the road, about to make a long drive and well cant stand having to change stations so much.I would like to introduce this Whole House FM Transmitter 2.0 to you.

Product Description

Dont Purchase Any FM Transmitter Until You have Seen Our NEW Whole Home FM Transmitter 2.0!

Because Our FM Transmitter Broadcasts 150 Feet Throughout Your Entire Home From Any Audio Source To Each FM Radio! Plus&

You Can Power It 4 Ways: AC Wall Outlet 12V Automobile Adapter Personal USB or 3 AA Batteries

The Broadcast Distance Our FM Transmitter will let you broadcast 150 feet throughout your entire home office backyard etc.

Well the new Whole House FM Transmitter 2.0 completely blows the C. Crane FM transmitter away.

The signal and sound is plain like a bell all through my (very large) apartment unlike with the C. Crane unit hacked or otherwise. The secret? A huge wire antenna included that you attach to the small antenna wire on the unit even though the instructions say the extension antenna is not intended to be used in the USA thanks to new ridiculous FCC regulations. (Ha-then why include the wire at all not that Im complaining. To paraphrase the late Al,Grandpa, Lewis the FCC!). The Whole House 2.0 with the included extension antenna is simply the best home fm transmitter available.

The reviewed Whole House FM Transmitter really stands up to its name as a “Whole House” coverage system. If you are in the same situation as me, that is you like to listen to streaming music from a CD player or from your laptop without being bound by distance from the music source, then the Whole House FM system is a great device to broadcast your music on any FM receiver within your home vicinity.

Its price tag has also dropped considerably, so why don’t you take a look at the official website of the product to see if it fits your needs. And don’t forget the free shipping within USA and the 30-Day money back guarantee.

If you are a little tired of your local AM and FM radio stations – same old, boring tunes – why not try a phenomenon that has been gradually coming into its own and has now well and truly arrived – internet radio. Unlike conventional radio, internet radio sends its signals through the internet rather than from transmitters that are fixed in one place sending out radio waves. This allows it to be truly global.

With quality second to none, internet radio can hold its own with the best audio around – and sound quality is vitally important for audio. A leading digital radio commentator explains: “Internet radio has the big advantage that the streams can use modern audio codecs.” This is what gives the sound quality an edge over the sound generated by, for example, DAB digital radio, another player on the block, and one being heavily promoted, especially in the United Kingdom, by such big names as the BBC.

(In the United States, digital radio is recognized as superior to FM – it cuts out annoying static, and is especially useful in car radios – many listeners are now also tuning in to satellite radio.)

With more than 10,000 stations sending out music, chat and news from all over the world, internet radio gives listeners an enormous choice of listening material, from classical music through reggae to 80s rock and everything between. There is a growing number of web sites providing portals through which you can access the station of your choice. Just one example is shoutcast.com, which gives access to 8000 internet radio stations.

Anyone with a broadband connection can access internet radio via their computer, or buy specially built receivers that look just like radios – well, that’s what they are, after all – at around 0.

At the Consumer Electronics Show 2009, manufacturing giant Sony announced that by 2011, 90 per cent of all its products would have internet connectivity. If they put Wi-Fi in their audio products, it will cost only a little more to enable those products to receive internet radio. In fact, many mobile phones are already able to receive internet radio through Wi-Fi or 3G – Nokia’s ‘smart phone’ comes with a standard radio application.

Two classy looking internet radios are the Pure Evoke Flow and Roberts Stream 202.

The Evoke Flow, launched late last year, has a smooth glossy black finish and looks not unlike your average small FM radio, but there the similarity ends. Using fingertip search you can find radio stations worldwide by typing in the first three letters of their name, or you can locate any music genre you want. This radio is portable and will also give you traditional FM and DAB radio, and access the music collection you have stored on your computer.

Roberts Stream 202 is a compact model, operated by batteries as well as mains powered, so you can take it anywhere. Information on a small screen in the top of the radio allows you to browse radio stations easily – it offers Wi-Fi and DAB/FM radio as well. You just need a broadband connection and a modem and/or router to get started.

Afghanistan to Zambia – listening to the world.

Did you know that you can now get .FM domain names? I only found this out by accident!

Obviously ‘they’ are expecting radio stations to use these and probably have not realized that FM can also stand for Facilities Management or Facilities Managers. (OK, I guess you can tell I’m not American, where the term is singular instead of plural – ‘Facility’ instead of ‘Facilities’.) The Facilities Management niche is probably also a fairly small market compared to FM radio stations.

If you look at the site releasing the .FM domain names – BRS Media’s dotFM is the exclusive worldwide registrar for the .FM top-level domain (TLD). – everything is geared towards the media rather than Facilities Managers. The FM domain is being promoted along side those of AM and TV, and the advertising, banners, etc. are featuring music. (whatever happened to ‘talk radio’? Maybe I’m just getting old!)

Certainly, at the time of writing, some of the big names in FM in the UK haven’t protected their identity by registering obvious variations of their own names.

(Not going to give things away for an individual company by citing an example!)

The .FM name isn’t cheap – or at least not compared with registering a .co.uk or .com name, or some of the variants that are now being released by country. (It’s per name for a year’s registration, ranging up to 5 for 5 years [/pa to save you working it out]). However, is not a lot of cash to most Facilities people, even consultants and one-man bands. Especially not for a prestigious web domain that will really make sense to any clients.

If it was as cheap as the .co.uk registrations, I probably wouldn’t be telling anyone.

Instead, I’d be registering as many Facilities Management names as I could, and putting some resources there to back up the registration so it wouldn’t look like – or at least so I could legitimately argue that – I wasn’t trying to ‘hijack’ someone else’s name.

Yes, we’re all used to seeing the .com, the .co.uk etc., but acmeco-fm.com doesn’t have the same ring or the same pull as acmeco.fm does. And for only this difference is within most Facilities people’s grasp!

History

Radio 3 is the successor station to the Third Programme which was originally launched on 29 September 1946. The name changed on 30 September 1967 when the BBC launched its first pop music station, Radio 1. The three other national radio channels were then renamed Radio 2, (formerly the Light Programme), Radio 3 and Radio 4, (formerly the Home Service). Radio 3 took over the service which had been known under the umbrella title of the Third Network and which included on the same frequency the Third Programme itself, the Music Programme and various sports and adult education programmes. All the component programmes, including the Third Programme, kept their separate identities within Radio 3 until 4 April 1970, when there was further reorganisation following publication of the BBC document Broadcasting in the Seventies.

Broadcasting in the Seventies

In July 1969, the BBC published the document Broadcasting in the Seventies, later described by a senior BBC executive, Jenny Abramsky, Head of Radio and Music, as “the most controversial document ever produced by radio”.

Prompted partly by the problem of rising costs, one of its main thrusts was the move towards “generic” stations, each catering for a defined audience. One early option under consideration was the reduction of the four radio networks to three, and “Day-time serious music would be the casualty”. Radio 1, Radio 2 and Radio 4 would broadcast during the day time, while in the evening Radios 1 and 2 would merge and Radio 3 would broadcast on the vacated frequency. Rumours were circulating that Radio 3 would be abolished altogether, with The Guardian stating that there was a strong “statistical case” against the station. However, the Director-General, Charles Curran, publicly denied this as “quite contradictory to the aim of the BBC, which is to provide a comprehensive radio service”. Curran had earlier dismissed any suggestion that Radio 3′s small audience was a consideration: “What is decisive is whether there is a worthwhile audience, and I mean by worthwhile an audience which will get an enormous satisfaction out of it.”

Radio 3 survived, the separate titles of Music Programme and Third Programme being dropped; factual programmes, such as documentaries and current affairs, were to be passed to Radio 4. The document stated that Radio 3 was to have “a larger output of standard classical music” but with “some element in the evening of cultural speech programmes – poetry, plays”.

There remained a question mark over the future of the Third speech programmes that were neither drama, poetry nor current affairs: the poet Peter Porter asked what would happen to “history, literature, travel, reminiscence etc” which had previously featured on the Third. The composer Peter Maxwell Davies and the music critic Edward Greenfield, writing in a feature article in Radio Times, feared that people would lose the mix of cultural experiences which expanded intellectual horizons. However, Radio 3 controller Howard Newby replied that only the coverage of political and economic affairs would be passed to Radio 4: Radio 3 would keep drama, poetry, talks by scientists, philosophers and historians.

Campaign for Better Broadcasting

Not only did Broadcasting in the Seventies propose a realignment of the existing radio stations, it also envisaged serious cutbacks in the BBC orchestras. In September 1969, a distinguished campaign group, including Sir Adrian Boult, Jonathan Miller, Henry Moore and George Melly, was formed to protest against the changes. The Campaign for Better Broadcasting (its initials were, felicitously, BBC backwards) objected to “the dismantling of the Third Programme by cutting down its spoken word content from fourteen hours a week to six” and “segregating programmes into classes”. Mention of the campaign even reached debate in the House of Commons.

Music Division

Although the Music Programme a constituent part of the old Network Three had been absorbed into Radio 3 from 1970 onwards, the Music Division continued, a section run by specialist music staff with production responsibility for the music programmes (controllers of the Third Programme and, subsequently, Radio 3, tended to be arts oriented). The head of the Music Division was then William Glock who had held the post since the Fifties and had also taken over the running of The Proms in the early Sixties. Hans Keller and Robert Simpson were on his staff. Glock was succeeded in 1972 as Controller of Music by the patrician Robert Ponsonby who himself was succeeded in 1985 by John Drummond. The Music Division was eventually run down and the separation of the roles became non-existent in 1987 when Drummond also took over the controllership of Radio 3, uniting all three responsibilities: the running of the station, the music programming and The Proms.

History – The ‘arts’ controllers, 19671987

Howard Newby was controller when the Third Programme became Radio 3

Radio 3′s first three controllers tended to be speech/arts oriented and had little to do with the running of the Proms, whereas the succeeding three all directed the Proms at some point along with their duties as Controller of Radio 3.

Howard Newby, 19671971

Howard Newby was the last controller of the Third Programme and the first of Radio 3, overseeing the transition which resulted from the implementation of Broadcasting in the Seventies. An author, he published four novels during his stint at the Third/Radio 3, winning the first Booker Prize for fiction in 1969. The innovations which were to see an increase in the amount of classical music on Radio 3 were due to be completed during the course of 1971. Newby moved upwards in that same year to become Director of Programmes, Radio, without having made any striking changes to the schedules.

Stephen Hearst, 19721978

Stephen Hearst was head of arts programmes for BBC television. According to his own account, asked by the interview board how important listening figures were he replied that the station was financed by public money and needed to consider the size of its audience; there was a minimum viable figure but this could be increased with “a lively style of broadcasting”. Another leading candidate for the post, Martin Esslin, head of Radio Drama, replied to the same question that the great cultural importance of Radio 3 made listening figures irrelevant. Hearst got the job. Radio staff tended to view television people as popularisers, and this turned out to be, in some measure, justified in Hearst case. Among early innovations were a prototype evening drivetime programme, Homeward Bound, which featured sequences of light classical music (and was dismissed by the critic Bayan Northcott as “muzak of the speeding executive” ); and a Sunday phone-in request programme, Your Concert Choice (“a flabby phone-in chat,” declared the Bristol Evening Post. “What is the BBC up to?”); the phone-in element was abandoned seven months later.

Hearst also launched the arts discussion programme Critics Forum which lasted sixteen years, and the series of single-theme evenings and days: French Sunday, Polish Evening, American Sunday etc. A Saturday night programme of miscellaneous music, Sounds Interesting, featured, for example, “experimental fusions of popular styles”, Terje Rypdal, songs from Gino Vanelli and “new work from Art Garfunkel and Prism”. In 1978 Hearst was promoted to Controller, Future Policy Group.

Ian McIntyre, 19781987

Ian McIntyre was moved sideways from Controller of Radio 4 to Radio 3 “to create smoother waters at Radio 4″, as Newby put it, but relations with most departments, especially the Music Division, became uncomfortable. Meanwhile, Aubrey Singer, later described by the music critic David Cairns as “a dedicated populariser”, had taken over as Managing Director, Radio. The possibility that a commercial classical music station with a “streamed format”, like the drivetime Homeward Bound, might poach Radio 3 listeners was raised in 1979 and Singer felt Radio 3 should get in first, rather than being forced to react later. The result was that in 1980 Homeward Bound was replaced by an extended programme called Mainly for Pleasure, a “sensitively compiled anthology of good music of all types and styles”, while Saturday afternoons had a programme of shorter presenter-selected repeats from earlier in the week. As with Homeward Bound, there were no advance details of what would be played. Keller complained that every programme, instead of provoking thought, was merely “thought-killing background”.

Financial cuts hit Radio 3 hard in 1980 and an internal paper recommended the disbandment of several of the BBC orchestras. Industrial action by musicians delayed the start of the Proms, there were redundancies in the Music Division which was to be disbanded and morale was low. Concern was expressed that Radio 3 had lost prestige without gaining new listeners. In 1983 The Times devoted a column to Radio 3, outlining the diverse unhappinesses of producers, contributors and listeners. Meanwhile, senior management was dissatisfied with listening figures and Director-General Alasdair Milne suggested that presentation style was “too stodgy and old-fashioned”. In 1987 a decision was taken to merge the positions of Controller, Music (held by John Drummond who had also been running the Proms), and Controller, Radio 3 (held by McIntyre). Drummond was appointed and McIntyre soon left the BBC.

History – The ‘music’ controllers 1987resent

Stephen Hearst expressed the view that the Controller of Radio 3 should know enough about music to run all aspects of the station, but it was not until John Drummond was appointed in 1987 that this came about.

John Drummond, 19871992

John Drummond was not a musician by profession but he had experience of administration, having run the Edinburgh Festival between 1977 and 1983. When he took over from Ian McIntyre he effectively had three jobs: Controller (Music), Director of the Proms and running Radio 3. Like Hearst, Drummond felt that the presentation of music programmes was too stiff and spoke of its “dogged dullness”. He set about encouraging announcers be more natural and enthusiastic. Much of the drama output, which was predominantly of new work, he found to be “gloomy and pretentious” and he insisted on more repeats of classic performances by such actors as John Gielgud and Paul Scofield. There were features on anniversaries: William Glock’s eightieth birthday, Michael Tippett’s eighty-fifth and Isaiah Berlin’s eightieth; a Scandinavian Season; and an ambitious Berlin Weekend to mark the reunification of Germany in 1990. Drummond came home from Berlin and complained that “not one single senior person in the BBC had listened to any part of it”. The following year a much praised weekend was broadcast from London and Minneapolis-St Paul, creating broadcasting history by being the first time a whole weekend had been transmitted “live from another continent”. New programmes introduced by Drummond included the experimental music show Mixing It (1990) which he described as a late-evening music strand for genres which fell between Radio 1 and Radio 3: “ethnic music, minimalism, and some kinds of experimental or advanced rock”. In this it could be seen as a precursor to the current programme Late Junction. As far as the station’s position within the BBC was concerned, Drummond said that the higher reaches of the corporation showed no interest whatsoever: “I can’t remember ever having a serious conversation with anyone above me in the BBC about Radio 3 … I would much rather have had the feeling that they thought it mattered what Radio 3 did.” In 1992 Drummond relinquished the post of controller, while retaining the role of Director of the Proms in order to run the centenary season.

Nicholas Kenyon, 19921998

Nicholas Kenyon came to Radio 3 from being chief music critic of The Observer, having had training in arts administration and run the South Bank Mozart Now Festival in 1991. He took up his post in February 1992, with the new commercial radio station Classic FM due to launch later in the year. One of his first acts was to send three senior producers to study classical music stations in the United States. Kenyon view, like Singer a decade earlier, was that Radio 3 had to make changes before the new station began broadcasting, rather than react later. Saatchi & Saatchi were appointed as the station advertising agents. An early controversy was the axing of three popular mainstay announcers, Malcolm Ruthven, Peter Barker and Tony Scotland, as a start to creating a new style since Kenyon, like Drummond, thought the Radio 3 style was off-putting to potential new listeners. On Air and In Tune, two new drivetime-formula programmes an innovation for Radio 3 were to fill the breakfast and teatime slots. Brian Kay, late of the King Singers and latterly a popular presenter on Radio 2 and Radio 4, was engaged to front a three-hour programme of popular classics on Sunday mornings. Drama was to be cut by a quarter, news which drew a letter of protest to The Times, with Harold Pinter, Tom Stoppard and Fay Weldon among the signatories. Few of these innovations escaped criticism from either the press or listeners. Kenyon was nevertheless eager to reassure that all this was not “some ghastly descent into populism”: the aim was to create “access points” for new listeners. Kenyon has admitted that in 1995 pressure was being exerted by senior management for Radio 3 to increase its ratings. There was “widespread disbelief” when he announced in the summer that a new morning programme would take the 09:00 spot from the revered Composer of the Week and would be presented by a signing from Classic FM the disc jockey Paul Gambaccini who had started his career with the BBC on the pop station Radio 1. The torrent of criticism, especially once the programme went on air a few weeks later, was so unrelenting that Gambaccini announced the following spring that he would not be renewing his contract with Radio 3.

Aside from the controversies, Kenyon controllership was marked by several highly distinguished programming successes.

The tercentenary of Henry Purcell’s death was marked in 1995 by the award-winning Radio 3 series Fairest Isle

Fairest Isle was an ambitious project which marked 1995 the 300th anniversary of the death of Henry Purcell with a year-long celebration of British music; Sounding the Century (19971999) presented a retrospective of 20th-century music. Both won awards.

He also introduced a number of well received specialist programmes: the children programme The Music Machine, Spirit of the Age (early music), Impressions (jazz), Voices (vocal music), and the arts programme Night Waves, among them. In 1996, Radio 3 became a 24-hour station. From midnight until 06:00 the programme Through the Night filled in with radio recordings supplied by participating broadcasters of the European Broadcasting Union. It still runs, put together by a small BBC team, and is taken by several other European broadcasters under the title Euroclassic Notturno. In order that live overruns did not create cumulative disruption to the daily schedule, one ixed point of 22:00 was created which would result, when necessary, in the curtailment or cancellation of items to allow Through the Night to begin promptly at midnight. Kenyon had in fact earlier declared that he wanted “lots of fixed points” and had already begun to introduce tripping programmes that appeared regularly at the same time each day through the week. Humphrey Carpenter commented: “Kenyon made no reference to the fact that the Third Programme had been founded under the motto o fixed points.”

Roger Wright, 1998resent

Roger Wright took over as controller in November 1998. One of the innovations of his first year was the introduction of the relaxed late-night music programme Late Junction with its varied mix of genres. Wright said he was addressing “this feeling people had that they didn’t want to put Radio 3 on unless they were going to listen carefully”. Jazz programmes and world music were given a higher profile, a new programme of light music was presented by Brian Kay, and Andy Kershaw music programme, which had been dropped by Radio 1, was reintroduced on Radio 3. A BBC spokesman described the station as having “changed beyond all recognition in the last couple of years”. From now on the watchword was to be quality, freeing music from its “outmoded boxes”, said Wright, “not a dumbing down but a smarting up”. With the BBC Charter due for review, Radio 3 programming figured largely in the documentation used in support of a ten-year renewal and the BBC Annual Report 2003/04 was able to report that Radio 3 “achieved a record [audience] reach in the first quarter of 2004″.

The Radio 3 logo, introduced in 2004 along with a redesigned website, but replaced in 2007

The Secretary of State foreword to the government Green Paper in 2005 made special mention of “the sort of commitment to new talent that has made Radio 3 the largest commissioner of new music in the world” as a model for what the BBC should be about.

However, as Roger Wright reaches the tenth anniversary of his controllership, the situation has changed somewhat. The same BBC Annual Report which mentioned the record audience also reported some listener unhappiness. Critical reception of the changes had also been mixed, especially of the new style of presentation described as “gruesome in tone and level”. The world music output was criticised as “street-smart fusions” and “global pop”. Radio Joint Audience Research (RAJAR) began to record lower listening figures. Substantial schedule changes were made early in 2007, some of them including the dropping of live evening concerts very controversial. After Kenyon “lots of fixed points” came Wright “all fixed points” with schedules now stripped across the week, contained in fixed length slots and introduced by regular presenters. In spite of these changes, the figures began to plummet. The new style Breakfast programme failed to achieve the listening figures of its predecessor.

Reversals of recent policy resulted in the dropping of Making Tracks (children programme), Stage and Screen (music theatre and film music) and Brian Kay Light Programme. Andy Kershaw show has transformed into the multi-presenter World on 3 and Late Junction has lost one of its four weekly editions. Mixing It (the long-running experimental music show) has also been dropped. The evening alternative music programmes have all been put back by one hour, to begin at 11.15pm, closer to the so-called “graveyard slot”. However, protesters against the removal of the Wednesday afternoon live broadcast of Choral Evensong to Sundays have been rewarded by its return to Wednesdays and live evening concerts have been reintroduced with 30 concerts promised for 200809.

Important projects undertaken have been The Beethoven Experience in June 2005, when the schedules were cleared for six days to broadcast the entire works of Beethoven round the clock. The same total immersion approach was used for A Bach Christmas in December 2005 for the entire works of JS Bach for ten days in the run-up to Christmas. In February 2007, one week was similarly given over to the works of Tchaikovsky and Stravinsky.

In October 2007, Wright succeeded Nicholas Kenyon as Director of the BBC Proms while remaining in post as Controller of Radio 3.

Notable programmes

Over more than forty years the schedules have been regularly updated. However, two long-running BBC programmes currently broadcast on Radio 3 Choral Evensong and Composer of the Week predate even the arrival of the Third Programme in 1946.

Choral Evensong

The first BBC broadcast of Choral Evensong came from Westminster Abbey in 1926

The Anglican service of sung Evening Prayer is broadcast weekly on Radio 3 live from cathedrals, university college chapels and churches throughout the UK. On occasion, it carries Choral Vespers from Catholic cathedrals, such as Westminster Cathedral, or a recorded service from choral foundations abroad. Choral Evensong is the BBC longest-running outside broadcast programme, the first edition having been relayed from Westminster Abbey on 7 October 1926. Its 80th anniversary was celebrated, also live from Westminster Abbey, with a service on 11 October 2006.

The programme has a strong following, revealed by various unpopular attempts in the past to change the broadcast arrangements. When the programme was moved from Radio 4 to Radio 3 in 1970 it became a monthly broadcast but vigorous protests resulted in a return of the weekly transmission on Wednesday afternoons..

More recently, in 2007 the live broadcast was switched to Sundays which again resulted in protests. The live transmission was returned to Wednesdays in September 2008 with a recorded repeat on Sunday afternoons. Choral Evensong forms part of Radio 3′s remit on religious programming though the musical performance and repertoire holds interest for a wider audience.

Composer of the Week

Composer of the Week is claimed as the longest-running classical music programme in Britain, having been launched in August 1943.. It was first broadcast on the Third Programme (later Radio 3), under its original title of This Week Composer, in 1964 when the station daytime broadcasting began. Each week, in five daily programmes, the work of a particular composer is studied in detail and illustrated with musical excerpts. Bach, Beethoven, Haydn, Mozart and Handel have all featured once most years, a different aspect of their work being chosen for study each time. However, the programme also covers more ‘difficult’ or less-widely known composers, with weeks devoted to Rubbra, Medtner, Havergal Brian and the Minimalists among others. The regular presenter is currently Donald Macleod.

CD Review

CD Review is a Saturday morning programme dealing with new classical music releases, topical issues and interviews. The programme title is an update of Record Review which was broadcast on Network Three occasionally from 1949, then weekly from 1957. It includes the feature Building a Library which surveys and recommends available recordings of specific works. In 2006 Building a Library was attacked as ‘elitist’ for including such composers as Karl Amadeus Hartmann and Elliott Carter and lesser-known works of great composers, at the expense of well-known mainstream works. However, the charge was rebutted by the programme’s producer, Mark Lowther, who said that Radio 3 audiences wanted programmes that challenged and inspired. The regular presenter of CD Review is Andrew McGregor.

Jazz Record Requests

Jazz Record Requests was the first weekly jazz programme on the Third Programme. First presented by the jazz musician Humphrey Lyttelton, the 30-minute programme was launched in December 1964 and is still running more than forty years later. Now extended to an hour long, it still has its place on Saturday afternoons. Presenters on Radio 3 have included Steve Race, Peter Clayton and Charles Fox. The current presenter is Geoffrey Smith.

Pied Piper

Pied Piper was an iconic children programme, presented by the 29-year-old early music specialist, David Munrow, it had the sub-title Tales and Music for Younger Listeners and ran from August 1971 until 1976. Lively and varied, it was aimed at the 612 age group, though much older children and adults also listened. The programme ran for five series and a total of 655 episodes until it was brought to an end by Munrow untimely death in May 1976.

The Radio 3 controversy

Controller Nicholas Kenyon summed up the perennial problem of Radio 3 as “the tension between highbrow culture and popular appeal .the cost of what we do and the number of people who make use of it: elitism versus populism (or umbing down) and the question of cost per listener. Tensions have been manifest within the BBC itself: in 1969, two hundred members of the BBC staff protested to the director general at changes which would masculate Radio 3, while managing director of radio Ian Trethowan described the station in a memorandum as “a private playground for elitists to indulge in cerebral masturbation”. Later, former Radio 3 controller John Drummond complained that the senior ranks of the BBC took no interest in what he was doing. There have also been tensions between corporate policy affecting the Third/Radio 3 and what the artistic world and sections of the audience wanted:

The Third Programme Defence Society (1957) opposed cuts in broadcasting hours and the removal of what the BBC considered “too difficult and too highbrow”. Supported by TS Eliot, Ralph Vaughan Williams, Laurence Olivier

The Campaign for Better Broadcasting (1969) opposed proposed cuts in Radio 3 speech output. Supported by Sir Adrian Boult, Jonathan Miller, Henry Moore, George Melly.

The Gambaccini issue (199596) arose as listeners and press critics protested the introduction into a slot formerly used for Composer of the Week of a program presented by Paul Gambaccini, a former Radio 1 and Classic FM presenter. This was seen as part of a wider move towards popularisation, to compete with Classic FM and to increase ratings. Gambaccini is quoted as saying: had a specific mission to invite [Radio 4] Today listeners to stay with the BBC rather than go to Classic FM.88]

Friends of Radio 3 (FoR3) (2003resent), a listeners campaign group set up to express concern at changes to the station’s style and scheduling, including the shift to presenter-led programmes stripped through the week, as on Classic FM and other mass-audience music stations. Officially, the BBC stated that “the network’s target audience has been redefined and broadened and the schedule began to be recast to move towards this during 1999.” The group stated aim is “To engage with the BBC, to question the policies which depart from Radio 3′s remit to deliver a high quality programme of classical music, spoken arts and thought, and to convey listener concerns to BBC management.” Supported by Dame Gillian Weir, Robin Holloway, Andrew Motion, Dame Margaret Drabble.

In the current climate of intense competition in the radio industry, the RAJAR listening figures are scrutinised every quarter by both broadcasters and the press. When listening figures showed an abrupt downturn from 2004, Friends of Radio 3 claimed that recent changes had caused the station to lose listeners. Dramatic schedule changes were introduced in February 2007. However, some of these were widely unpopular, and the year 2007/08 saw record low listening figures Adjustments in September 2008, e.g. reintroducing some live concerts, reversed some of the policies and listening figures improved.

Technical innovations

To improve the quality of outside broadcasts over telephone lines the BBC designed a NICAM style digitisation technique called pulse code modulation running at a sample rate of 14,000 per second per channel. It later designed digital recording machines (transportable) sampling at the same rate.

The Beethoven Experience: A manuscript page of Beethoven’s Ninth Symphony. Radio 3′s free download trial in 2005 angered the record industry

In June 2005 in conjunction with Radio 3 Beethoven Experience (a week exclusively devoted to the works of Beethoven played round-the-clock), the BBC trialled its first music downloads over the internet. The BBC Philharmonic Orchestra under Gianandrea Noseda played all nine Beethoven symphonies and the recordings were offered as free mp3 downloads. The stated aim was “to gauge audiences’ appetite for music downloads and their preferred content, and will inform the development of the BBC strategy for audio downloads and on demand content”. The experiment was wildly successful, attracting 1.4 million downloads. There was anger among the major classical record labels who considered it unfair competition and “devaluing the perceived value of music”. As a result, no further free downloads have been offered and the BBC Trust has ruled out any classical music podcasts with extracts longer than one minute. In October 2007, Radio 3 collaborated with English National Opera in presenting a live video stream of a performance of Carmen, “the first time a UK opera house has offered a complete production online”. In September 2008, Radio 3 launched a filmed series of concerts. These will be available to watch live and thereafter each concert will be available online for 7 days “in high quality vision”.

Radio 3 is now available world wide on the Internet and is broadcast on digital radio in the United Kingdom via DAB, on Freeview, Freesat, Sky Digital, Virgin Media and other subscription platforms.

Controllers of the Third Programme and Radio 3

194648 George Barnes

194852 Harman Grisewood

195358 John Morris

195971 Howard Newby

197278 Stephen Hearst

197987 Ian McIntyre

198792 John Drummond

199298 Nicholas Kenyon

1998resent Roger Wright

See also

List of BBC radio stations

References

^ Statements of Programme Policy Radio 3 Programme Policy 2008/2009, BBC website

^ “British Academy of Composers and Songwriters”. http://www.britishacademy.com/public-events-news/british-composer-awards-2008-2.html. Retrieved 2008-11-16. 

^ New Generation Artists, BBC Radio 3 website.

^ “Sony Radio Academy Awards 2009″. Sony Radio Academy. http://www.radioawards.org/winners/?awid=183&awname=UK+Station+of+the+Year&year=2009/. 

^ “BBC Radio 3 – Sixty Years On”. British Broadcasting Corporation. http://www.bbc.co.uk/radio3/classical/thirdprogramme/. 

^ a b Humphrey Carpenter, The Envy of the World: Fifty Years of the BBC Third Programme and Radio 3 19461996, Weidenfeld & Nicolson, 1996, p. 247.

^ “Sound Matters – Soundtrack for the UK – How did we get here?”. Text of a lecture given by Jenny Abramsky, News International Visiting Professor of Broadcast Media 2002 at Green College, Oxford University. http://www.bbc.co.uk/pressoffice/speeches/stories/abramsky_oxford1.shtml. Retrieved 2008-09-26. 

^ Carpenter, Envy, p. 249

^ a b c Carpenter, Envy, p. 251

^ a b c Carpenter, Envy, p. 253

^ Carpenter, Envy, p. 254

^ a b Radio Times, 410 April 1970, BBC Magazines

^ Briggs (1985), p. 353

^ Briggs (1985), p. 355

^ “Hansard”. http://hansard.millbanksystems.com/commons/1969/oct/16/british-broadcasting-corporation. Retrieved 2008-09-26. 

^ Carpenter, Envy, p. 195

^ Carpenter, Envy, p. 283

^ Carpenter, Envy, p. 317

^ Carpenter, Envy, p. 321-322

^ Carpenter, Envy, p. 267

^ a b Carpenter, Envy, p. 269

^ a b Carpenter, Envy, p. 268

^ Carpenter, Envy, p. 296

^ Carpenter, Envy, p. 289

^ a b Carpenter, Envy, p. 290

^ Carpenter, Envy, pp. 287-288

^ Carpenter, Envy, pp 292-293

^ Radio Times, Saturday 1 April 1978, BBC Magazines

^ Who Who 2008, A&C Black

^ Carpenter, Envy, p298

^ Carpenter, Envy, p. 302

^ Carpenter, Envy, p. 311

^ a b c Carpenter, Envy, p. 304

^ Carpenter, Envy, p. 304-305

^ Carpenter, Envy, p. 306

^ Carpenter, Envy, p. 306-307

^ Carpenter, Envy, p. 308

^ a b Carpenter, Envy, p. 313

^ Carpenter, Envy, p. 320

^ Carpenter, Envy, p. 322

^ Carpenter, Envy p. 277

^ Carpenter, Envy p. 326

^ Drummond (2001), p. 354

^ Drummond (2001), p. 370-371

^ a b Carpenter, Envy p. 331

^ a b Drummond (2001), p.365

^ Carpenter, Envy p. 328-329

^ a b c d Carpenter, Envy, p. 339

^ a b Carpenter, Envy, p. 341

^ a b c d Carpenter, Envy, p. 342

^ Carpenter, Envy, p. 356

^ a b Carpenter, Envy, p. 357

^ “Knighthood for ex-Proms supremo”. BBC News. 2007-12-29. http://news.bbc.co.uk/1/hi/entertainment/7162929.stm. Retrieved 2008-10-08. 

^ “Euroclassic Notturno”. BBC. http://www.bbc.co.uk/radio3/euroclassicnotturno/. Retrieved 2008-10-08. 

^ “Into bed with Fiona and Verity”. The Guardian. 2002. http://www.guardian.co.uk/theobserver/2002/jun/23/features.review37. Retrieved 2008-10-19. 

^ “Andy Kershaw anytime”. The Guardian. 2001. http://www.guardian.co.uk/technology/2002/jun/17/internetnews.mondaymediasection. Retrieved 2008-10-19. 

^ “Roger Wright, The Necessity of Re-invention”. Speech given at the Musicians’ Benevolent Fund annual luncheon, 21 November 2001, BBC press release. 2001. http://www.bbc.co.uk/pressoffice/speeches/stories/wrightmusicians.shtml. Retrieved 2008-10-19. ,

^ a b BBC Annual Report 2003/04, p. 34

^ Review of the BBC Royal Charter: A strong BBC, independent of government, Department for Culture, Media and Sport, March, 2005, p. 3

^ “Update on Three”. The Spectator. 2004. http://www.spectator.co.uk/the-magazine/arts/12742/part_3/update-on-three.thtml. Retrieved 2008-09-24. 

^ “The BBC growing debasement of world music”. The Independent on Sunday. 2005. http://www.independent.co.uk/opinion/commentators/michael-church-the-bbcs-growing-debasement-of-world-music-485175.html. Retrieved 2008-09-24. 

^ “A bullet through the heart of Radio 3″. The Guardian. 2006. http://www.telegraph.co.uk/opinion/main.jhtml?xml=/opinion/2006/11/05/do0504.xml. Retrieved 2008-09-24. 

^ “Live concerts to take more of a back seat at Radio 3″. Daily Mail. 2006. http://www.dailymail.co.uk/tvshowbiz/article-412222/Live-concerts-seat-Radio-3.html. Retrieved 2008-09-24. 

^ “Radio 3 hits all-time low”. The Guardian. http://www.guardian.co.uk/media/2007/aug/16/radio1. Retrieved 2008-09-24. 

^ “RAJAR Listening trends”. Radio Joint Audience Research. 2008. http://www.rajar.co.uk/content.php?page=listen_market_trends. Retrieved 2008-09-24. 

^ “Choral Evensong back on Wednesday”. Church Times. 2008. http://www.churchtimes.co.uk/content.asp?id=50802. Retrieved 2008-09-24. 

^ “Even more live music in new schedule for Radio 3″. BBC press release=2008. http://www.bbc.co.uk/pressoffice/pressreleases/stories/2008/09_september/01/radio3.shtml. Retrieved 2008-09-24. 

^ “The Beethoven Experience”. BBC website. http://www.bbc.co.uk/radio3/beethoven/index.shtml. Retrieved 2008-12-16. 

^ “A Bach Christmas”. BBC website. http://www.bbc.co.uk/radio3/bach/. Retrieved 2008-12-16. 

^ “Tchaikovsky and Stravinsky on Radio 3″. BBC website. http://www.bbc.co.uk/radio3/classical/tchaikovsky/radio_highlights.shtml. Retrieved 2008-12-16. 

^ “Radio 3′s Wright to head BBC Proms”. The Guardian, 19 April 2007. http://www.guardian.co.uk/media/2007/apr/19/bbc.radio. Retrieved 2008-12-16. 

^ Choral Evensong programme page

^ “Paul Donovan, Radio Waves: Praise Be”. London: Sunday Times, 8 October 2006. http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/article659914.ece. Retrieved 2008-11-03. 

^ Carpenter, Envy, pp 262-263

^ “Protests at move for radio evensong”. Church Times, 17 November 2006. http://www.churchtimes.co.uk/content.asp?id=29081. Retrieved 2008-11-03. 

^ a b Paul Donovan, Roll over, Beethoven, Sunday Times, Culture supplement, 10 August 2003, pp. 14-15

^ Carpenter, Envy p 231

^ “Martin Kettle, Hijacked by specialists”. The Guardian, 15 February 2006. http://www.guardian.co.uk/media/2006/feb/15/broadcasting.arts. Retrieved 2008-11-03. 

^ “Mark Lowther, Radio 3 audiences want the standard repertoire – and more”. The Guardian, 21 February 2006. http://www.guardian.co.uk/media/2006/feb/21/broadcasting.arts. Retrieved 2008-11-03. 

^ Jazz Record Requests programme page

^ Carpenter, Envy p 265

^ Carpenter, Envy, p 266

^ Carpenter, Envy: p. 364

^ Carpenter, Envy, p. 255

^ Carpenter, Envy, pp 169-174

^ Carpenter, Envy, pp. 255-257

^ Carpenter, Envy, pp. 357-358

^ “Parliamentary Select Committee on Culture, Media and Sport,”. 15 February 1996. http://www.publications.parliament.uk/pa/cm199596/cmhansrd/vo960215/debtext/60215-21.htm. Retrieved 2008-12-27. 

^ Friends of Radio 3 (FoR3), Friends of Radio 3 website

^ “BBC reply: Culture, Media and Sport Select Committee response to the BBC Annual Report 1999-2000″. http://www.publications.parliament.uk/pa/cm199900/cmselect/cmcumeds/945/94505.htm. Retrieved 2008-12-27. 

^ “Friends of Radio 3 (FoR3)”. http://for3.org/supporters.html.  Friends of Radio 3 website

^ “Martin Kelner, “One quarter does not make a trend”". The Guardian, 28 July 2008. http://www.guardian.co.uk/media/2008/jul/28/rajars.bbc. Retrieved 2008-11-30. 

^ “Roger RAJAR nightmare”. Friends of Radio 3, 16 August 2007. http://for3.org/second/campaign_update.html#Roger_RAJAR_nightmare. Retrieved 2008-11-30. 

^ “Charlotte Higgins, “Radio 3 denies it is cutting its live classical music output”". The Guardian, 6 November 2006. http://www.guardian.co.uk/media/2006/nov/06/radio.musicnews. Retrieved 2008-11-30. 

^ “David Self, A bullet through the heart of Radio 3″. The Telegraph, 27 February 2007. http://www.telegraph.co.uk/opinion/main.jhtml?xml=/opinion/2006/11/05/do0504.xml. Retrieved 2008-11-30. 

^ “Stephen Moss, I want a revolution, not a rejig”. The Guardian, 27 February 2007. http://www.guardian.co.uk/culture/tvandradioblog/2007/feb/27/iwantarevolutionnotareji1. Retrieved 2008-11-30. 

^ “John Plunkett, Radio 3 hits all-time low”. The Guardian, 16 August 2007. http://www.guardian.co.uk/media/2007/aug/16/radio1. Retrieved 2008-11-30. 

^ “BBC to offer Beethoven downloads”. BBC, 27 May 2005. http://www.bbc.co.uk/pressoffice/pressreleases/stories/2005/05_may/27/beethoven.shtml. Retrieved 2008-12-03. 

^ “Anthony Barnes, Downloading trouble at the BBC”. Independent on Sunday, 10 July 2005. http://www.independent.co.uk/news/media/downloading-trouble-at-the-bbc-498238.html. Retrieved 2008-12-03. 

^ “Radio 3 and ENO offer first UK videostreaming of opera online”. BBC, 26 October 2007. http://www.bbc.co.uk/pressoffice/pressreleases/stories/2007/10_october/26/carmen.shtml. Retrieved 2008-12-03. 

^ “Radio 3 to film live concerts for online broadcast”. BBC, 12 September 2008. http://www.bbc.co.uk/pressoffice/pressreleases/stories/2008/09_september/12/radio3.shtml. Retrieved 2008-12-03. 

Works cited

BBC Annual Report and Accounts, 2003/2004, London: British Broadcasting Corporation, 2004

Briggs, Asa, The BBC: The First Fifty Years, Oxford: Oxford University Press, 1985 ISBN 0192129716

Carpenter, Humphrey, The Envy of the World: Fifty Years of the BBC Third Programme and Radio 3, 1946-1996, London: Weidenfeld & Nicolson, 1996 ISBN 0297818309

Department for Culture, Media and Sport, Review of the BBC Royal Charter: A strong BBC, independent of government (government Green Paper), 2005

Drummond, John, Tainted by Experience: A Life in the Arts, London: Faber & Faber, 2001 ISBN 057120922X

Radio Times, 1923resent, London: British Broadcasting Corporation ISSN 0033-8060 02

External links

BBC Radio 3 at BBC Online

Media UK’s BBC Radio 3 site including scheduled programming

Friends of Radio 3

First Fiddle: Tuning in to the British

v d e

BBC Radio

Analogue/digital

Radio 1  Radio 2  Radio 3  Radio 4  Radio 5 Live

Digital

Radio 1Xtra  Radio 5 Live Sports Extra  6 Music  Radio 7  Asian Network

Nations

Radio Scotland (Radio Shetland  Radio Orkney)  Radio nan Gidheal  Radio Wales  Radio Cymru  Radio Ulster  Radio Foyle

English regions

BBC Local Radio

International

BBC World Service  BBC Arabic  BBC Bangla  BBC Brasil  BBC Mundo  BBC Persian  BBC Russian

Former

Allied Expeditionary Forces Programme  Forces Programme  General Forces Programme  Home Service  Light Programme  National Programme  Radio 5  Regional Programme  Third Programme  Radio 4 News FM

Original

2LO London  5IT Birmingham  2ZY Manchester  5NO Newcastle  5WA Cardiff  5SC Glasgow  2BD Aberdeen  6BM Bournemouth  2FL Sheffield  5PY Plymouth  2BE Belfast  2EH Edinburgh relay  6LV Liverpool relay  2LS Leeds and Bradford relay  6KH Hull relay  5NG Nottingham relay  2DE Dundee relay  6ST Stoke relay  5SX Swansea relay

Other

Wartime Broadcasting Service

Categories: BBC Radio 3 | BBC national radio stations | Classical music in the United Kingdom | Classical music radio stations | Radio stations established in 1967

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Coby 4 GB Video MP3 Player with FM Radio

This purchase was a gift for my father made. He wanted one of these “small things music” for some time and found to use much at all difficult. I told him to decide what music you want, then buy this investigation.

Someone who needs to communicate enough to meet and play with the new software, which takes about 2 minutes knows, you can find out exactly how this device. my father, not entirely understood, the switch connected to the computer.

Watch Coby 4 GB Video MP3 Player with FM Radio

However, it can work well. The text is large enough and sufficiently well-lit display that can be easily removed, must be present, the keys are easy to decide, without the risk of selection issues.

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An FM transmitter is a portable device that plugs into the headphone jack or proprietary output port of a portable audio or video device, such as a portable media player, CD player, or satellite radio system. The sound is then broadcast through the transmitter, and plays through an FM broadcast band frequency. Purposes for an FM transmitter include playing music from a device through a car stereo, or any radio.

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A radio transmitter design is a complex topic which can be broken down into a series of smaller topics.

A radio communication system requires two tuned circuits each at the transmitter and receiver, all four tuned to the same frequency. The transmitter is an electronic device which, usually with the aid of an antenna, propagates an electromagnetic signal such as radio, television, or other telecommunications.

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This product allows for very clear music, with good sound quality through your radio.

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TuneIn, already available on most smartphone platforms, today launches as a free mobile application for Microsoft Windows Phone 7 handsets. The software streams Internet radio from more than 50,000 AM and FM radio stations over Wi-Fi or a mobile broadband connection. One key difference in the Windows Phone 7 version is that the application integrates with the handset’s internal FM radio to save battery Acer as07b41 battery life or listen to local radio programs that could be blocked on the web.

TuneIn is now available on practically all mobile platforms: iOS, BlackBerry, Android, Palm, and even Samsung’s Bada operating system.

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Search for an artist or song, for example, and the software returns all of the stations currently playing either. A handset’s GPS will find local stations — useful while traveling. Podcasts too are supported by the app, so you can carry around and listen to your favorite mobile technology show.

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Microsoft has struggled to roll out these first two updates to the Windows Phone 7 software. Shortly after it began pushing out the February update, it discovered that the new software made the Samsung phones unusable for some people.

 Internet radio is certainly ubiquitous these days, but as we begin to pay for the data that we use, thanks to tiered data plans, that good ol’ fashioned traditional radio could rise in value.

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