Basic Differences Between AM and FM

We need to mention a couple of other things before we leave the discussion of how radio works.  We’ve talked about AM and FM radio, but we haven’t explained the real difference.

In fact, there is a lot of difference — and not just a difference in the station numbers on your radio dial.

The first type of radio service — the one we’ve been talking about in the last couple of modules — was AM radio.

The term modulation refers to how sound is encoded on a radio wave called a carrier wave; or, more accurately, how the sound affects the carrier wave so that the original sound can later be detected by a radio receiver.

In the top-left of this drawing the RF energy (carrier wave) is not modulated by any sound.  There would be silence on your radio receiver.

Sound transmitted by an AM radio station affects the carrier wave by changing the amplitude (height) of the carrier wave, as shown on the left.

Unfortunately, this type of modulation is subject to static interference from such things as household appliances — and especially from lightening storms.

AM also limits the loud-to-soft range of sounds that can be reproduced (called dynamic range) and the high-to-low sound frequency range (called frequency response, to be explained below).

FM radio, which came along in the 1930s, uses a different approach than AM. It’s virtually immune to any type of external interference, it has a greater dynamic range, and it can handle sounds of higher and lower frequencies. This is why music, with its much greater frequency range than the human voice, sounds better on FM radio.

Note on the left that when the carrier wave of FM radio is modulated with sound that the distance between the waves, or the frequency of the carrier wave, changes.

Thus, AM radio works by changing the amplitude of the carrier wave and FM radio works by changing the frequency of the carrier wave.

Frequency Response

Frequency relates to the basic pitch of a sound — how high or low it is. A frequency of 20 Hz would sound like an extremely low-pitched note on a pipe organ — almost a rumble.

At the other end of the scale, 20,000 Hz would be the highest pitched sound that can be imagined, even higher than the highest note on a violin or piccolo.

As we’ve noted, frequency is measured in Hertz (Hz) or cycles per second (CPS). A person with exceptionally good hearing will be able to hear sounds from 20-20,000 Hz.

Since both ends of the 20-20,000Hz range represent rather extreme limits, the more common range used for FM radio and TV is from 50 to 15,000 Hz. (A typical AM radio signal does not cover this entire range.)

Although the 50-15,000 Hz doesn’t quite cover the full range that can be heard by people with good hearing, it covers almost all naturally occurring sounds.  Note in the drawing above that the ear does not hear all frequencies of sound at the same loudness, but a good microphone does.

The sound level or amplitude of sound in radio and TV stations is monitored and adjusted with the help of a volume units meter (VU meter) meter. One model is shown on the left.  Audio levels must be carefully controlled in broadcasting to keep noise and distortion from reducing the quality of sound.

Satellite Radio , work

Satellite radio is such a remarkably simple concept that one might wonder why it took until 2001 for the first space-based audio service to make its debut in the United States.

At least it’s simple on the surface: Take a music, news or talk station, beam the signal up to a satellite, and overcome the limitations of ground-based transmitters whose signals generally drop off as distance increases. Then make sure the programming is more appealing than traditional radio stations and cut down on the number of commercials in exchange for a monthly subscription fee.

But as it turns out, satellite radio is a whole lot more complex than it seems on paper – and it took cutting-edge technology to make the systems operated by Sirius Satellite Radio and XM Satellite Radio work.

XM and Sirius are not the first companies to enter the satellite radio industry: Worldspace Corp., a firm based in Washington, has provided satellite radio in Asia and Africa since 1998. But Worldspace was intended primarily for use in fixed locations, while the systems used by XM and Sirius are optimized to reach U.S. listeners on the go.

From the ground up

It took a number of years to develop the XM and Sirius systems.

Engineers had to figure out how to squeeze dozens of individual channels into a relatively small amount of bandwidth and come up with reliable methods of beaming signals from thousands of miles in space to roving antennas smaller than tennis balls.

They also had to develop inexpensive circuitry, or chipsets, to enable receivers to decode the satellite signals, which are encrypted to prevent reception by non-subscribers. Both firms are working on newer versions of their chipsets that will be smaller and use less power.

Sirius and XM each took somewhat different approaches, although the end result, from a lay person’s perspective, is the same: 100 channels of music, news, sports and other fare available virtually anywhere in the continental United States. The companies are trying to distinguish themselves with programming and attitude.

XM’s system uses two very powerful satellites floating in space directly above the equator. The spacecraft are in geostationary orbit — they appear from the ground to remain in fixed perches, because they move around the Earth at the same speed the planet is rotating.

Geostationary satellites are commonly used for all sorts of space-based communications because they enable use of inexpensive, fixed antennas. Satellite TV and Internet systems are two examples of consumer-oriented technologies that use this type of satellite.

Repeat that, please

Since geostationary spacecraft are above the equator, terminals on the ground must have a decent view of the southern sky to receive signals from them. This posed a challenge for XM, since listeners in cars often pass by obstacles, such as buildings, foliage or hills, which can block geostationary satellite signals.

XM’s solution is a network of repeaters – antennas on buildings and other sites that receive satellite signals from an optimally placed antenna and retransmit them. The repeaters are located primarily in built-up areas, where loss of the satellite signal is most likely to occur.

Each XM receiver is equipped to receive signals from both of the company’s Boeing 702 satellites and a repeater simultaneously. As long as one of the sources is available, the radio will play without interruption. In addition, the receivers have buffers that store programming for several seconds, allowing operation to continue even if no signal is available momentarily.

Sirius uses a trio of Loral FS1300 satellites in unique elliptical orbits in an effort to avoid the problems posed by geostationary satellites.

The orbits, shaped like figure eights, allow the satellites to appear higher in the sky than XM’s, cutting down on the potential for a listener to be out of range of a satellite signal — and allowing Sirius to have a much smaller number of repeaters.

Sirius’ repeater network also avoids the need for specialized antennas that can track the company’s non-geostationary satellites as they move about the sky, Sirius feeds its repeaters using capacity on a geostationary satellite leased from a traditional satellite operator. Listeners can’t tell that the signals they receive via the repeaters do not travel over Sirius’ fleet of satellites.

The Sirius satellites each spend about 16 hours over the United States, then whip around the other side of the Earth and return eight hours later for another stint hovering over Sirius’ listening area, according to Ted Hessler, the company’s vice president of space segment and enterprise operations.

Two Sirius spacecraft cover the United States at any given time, Hessler said.

In the studio

XM and Sirius both operate digital broadcast centers that combine dozens of individual recording studios with huge amounts of storage to hold hundreds of thousands of compact discs worth of music in digital format.

Programmers just point and click at the material they want to play, and it airs directly from the storage system at the appointed time. During transmission, the system also adds a short description of the music or other material for display on a small receiver screen.

That is one unique advantage to satellite radio — you can find out the artist and song title as each piece of music plays.

The 22 terabytes of storage capacity at XM’s facilities in Washington can hold about 250,000 CDs, said Anthony J. Masiello, XM’s senior vice president of operations.

Terry Smith, senior vice president and chief technology officer of Sirius, said his company’s studios in mid-town Manhattan have about seven terabytes of storage. While that is less than XM has, Smith says it’s plenty.

“Our library is constantly being refreshed as new content comes in,” Smith said.

Both companies also maintain large collections of CDs to augment their digital libraries. They also retransmit programming that originates elsewhere, such as news, sports and comedy channels, and maintain studios where artists perform live.

Another, less visible key to satellite radio is digital compression, a technique to use radio spectrum as efficiently as possible. Both satellite radio broadcasters use sophisticated algorithms to squeeze as much material as they can into the available bandwidth without causing audio quality to degrade.

XM and Sirius are each allocated 12.5 megahertz of radio spectrum by the U.S. Federal Communications Commission. Get payday loan to make a payment.

Radio

In the 1930s and 1940s, when radio still was regarded as a new medium, special children’s programs were broadcast in order to attract young listeners. As such programs became popular, production increased. Children and teenagers took pleasure in listening to programs specifically aimed at children as well as other programs. By this time, American children aged nine to twelve listened to radio approximately two to three hours a day, especially during the evening. Girls preferred romantic and historical dramatizations and boys listened more to popular and novelty programs, but one study came to the conclusion that the differences mattered less than the similarities. With some variations, comedy and mystery radio plays were preferred above others by both boys and girls of all ages. Thus children enjoyed a variety of programs, including those produced for adults.

As with other electronic media, radio was met with worries from the adult world. In Sweden, as in other countries, it was a common anxiety that too much listening could make children passive and less eager to play. In the 1940s, Swedish teachers expressed worries about being regarded as mere “loudspeakers” by children accustomed to passively listening to radio. However, compared with reactions to other electronic media, radio seems to have incited relatively few “moral panic” attacks. Partly this can be explained by radio’s supposed usefulness in education (discussed below).

In the 1950s, when TELEVISION was introduced, researchers in Britain came to the conclusion that television reduced radio listening more than it reduced any other activity. In spite of this, one in three children said that if they had to do without radio they would miss it quite a lot. The study also noticed that children who had been watching television for several years listened a little more often to the radio. This was described as a revival in line with reports of adults’ media behavior. While radio plays could not compete with television plays, other types of programs held listeners’ interest, including panel games, discussions, music, and sports commentaries.

Other studies have arrived at the similar conclusion that, with increasing age, children spent more time with radio than with television. TEENAGERS in particular have been found to be regular radio listeners. Researchers have attributed this to the socialization effects of radio, although explanations of what those effects are have varied over time. In the 1970s socialization to political virtues was considered to be an important factor, while in the 1980s, radio was seen as a source for identity formation in a peer group. This change can be related to the shift of content in programs addressed to teenagers. In the 1980s and 1990s teenagers listened more to music than to anything else on radio.