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The diffusion of digital radio has experienced more challenges than for digital TV regarding a digital switchover. The purpose of this paper shows on the specific case of Germany, which difficulties the digital sound broadcasting technology of Digital Audio Broadcasting (DAB) has been facing from several points of view. The difficulties are reviewed and outlined to overcoming different barriers and to facilitating its diffusion.

The paper analyses how the diffusion of digital radio is perceived by industry representatives such as radio consultants and several stakeholders along the value chain of the radio industry. In semi-structured interviews, participants describe and evaluate the challenges for DAB as digital audio broadcasting standard mainly in Germany.

After two decades of deploying digital radio in Germany, its success is still missing. Various very different aspects have prevented the diffusion of the new technology. Among various barriers, the radio industry sees missing benefits, marketing errors and a lack of inter-industrial collaboration as barriers in a retro-perspective.

The analysis does not cover other countries, where DAB as standard was introduced. Also other standards for digital radio are not considered.

With referring to barriers for digital radio, there is a scope for those countries about to introduce the technology to troubleshoot the failings of overcoming barrier. An idea can emerge, how authorities and industrial stakeholders can help to facilitate the diffusion of digital radio. It also indicates the need of governmental interaction for the coordination of a technology introduction in a network industry.

The theoretical model, referred to, gives a good overview of potential diffusion barriers as most identified problems for the German case. The model and the illustrated problems of the paper can be used in practice to manage potential diffusion problems during technology introductions.

There is a lack of published information about the faced challenges for the diffusion of digital radio. The retro-perspective benefits from the broad experience of participants having observed the challenges of the past decade with DAB in Germany. Additionally, the results are mapped to a theoretical framework with limits for the diffusion of innovation for generalising.

This Chapter is all about communication and the ways we are now able to reach out to others around the world from our personal computers or mobile devices, which were never available before. One might initially consider this section more in line with productivity tools instead of those impacting the digital humanities. I will, however, demonstrate that it is through these tools that the field is expanding, offering interesting ways in which scholars can communicate ideas with one another, share thoughts, research, and collaborate. Additionally, it is through the use of these tools that our ideas are being shared with students and interestingly how students are, in turn, reciprocating our efforts. The chapter focuses on video broadcasting tools, audio conferencing, audiocasting, and collaboration applications, offering examples of how they can be used in a classroom setting.

Digitisation is used for preservation of audiovisual material. This preservation work is a major producer of digital collections – which then need digital preservation for sustainability. EC Project Presto surveyed the holdings and status of ten major broadcast archives – a significant portion of total European broadcast archives, including some of the largest individual collections. The main findings are that approximately 75 per cent of this material is at risk or inaccessible and that the collections are growing at roughly four times the rate of current progress in preservation work. This paper gives further results of the project, and gives practical guidance for preservation of audiovisual material. Presto demonstrated the effectiveness of the “preservation factory” concept for major broadcast archives – a way to reduce cost while still maintaining or even increasing quality. There is now a new EC project, Presto‐space, which will make the preservation factory available to small and medium‐sized collections.

The purpose of this paper is to investigate how simultaneous use of devices such as personal computers, tablets and smartphones impacts the sponsors that receive brand integration during the broadcasts. Advances in technology now allow fans to consume broadcasts of televised events almost anywhere via personal computers, tablets and smartphones. These devices are also frequently utilized as “second screens” to communicate with fellow consumers on social media, access additional content or otherwise multitask during televised consumption.

An initial study served to test the applicability of the theoretical framework of a dual coding theory in this new context, followed by a 3 × 2 between-subjects design utilized to advance understanding of the influence of second screens on brand awareness of the sponsors of televised events.

Results demonstrated that both brand recognition and recall were reduced by second screen activity across nearly all audio or visual consumption experiences. Further, while second screen use in an audiovisual setting did not interfere with consumers’ ability to recognize brands, indicating they were able to multitask and were not distracted, it inhibited their ability to recall brands from memory. This result provides evidence that second screen use may interfere with elaborative rehearsal and reduce cognitive capacity.

Given that marketers are investing more resources than ever to achieve brand integration during televised events, these findings suggest that brands face challenges in achieving a requisite return on their investments.

This study represents the first empirical investigation of the impact of consumers’ use of second screens in the academic literature, and has important implications for the sponsors of televised events.

The purpose of this study is to present an overview of digital multimedia broadcasting (DMB) and to explore the users' perception on DMB cellular phone or “cellevision”, video‐on‐the‐go services that deliver television to cell phones.

This two‐phase study explores users' reactions to DMB contents and services, users' perceptions on the pricing of DMB phone handsets, phone usage time, program contents, and DMB carrier services. Findings from the use of qualitative method of existential phenomenology were explored further with quantitative analyses including T‐test, ANOVA, and Duncan test.

The young generation will be a major impact on the DMB market due to their mindset and lifestyle. Thus, the DMB market strategy should be to base decisions on reaching out and focusing on the younger generation (especially, the teens) as the latest trendsetters.

The sample size was collected during the experimental/trial stages of satellite DMB services. This research should be continued to solidify findings with an increased sample size of respondents collected during the actual stage of satellite‐DMB and terrestrial‐DMB services.

The findings from this exploratory research will be valuable for the DMB service and content providers to gain insight into various age groups and their perceptions.

This study is the first kind of research in this area. With the study as a forerunner, the authors examined the effect of DMB mobile phone program contents and services on users.

In sharp contrast to television, various sources of market failure currently prevent market forces fulfilling the promise of digital switchover in radio markets. The purpose of this paper is to review the strengths and weaknesses, business models and market deployment of the two main platforms, with a view to establishing the economic case for higher regulatory involvement in digital radio markets.

The paper analyses the relevant broadcaster, engineering and regulatory literature, with particular emphasis on technical compatibilities among terrestrial radio broadcast technologies, and the technological and economic difficulties they face. The exercise is the first of its kind to scope and bring together these multidisciplinary contributions.

The highly uncoordinated development and deployment of terrestrial digital radio platforms is leading this new digital industry to an impasse. There is a legacy of uncertainty and scepticism amongst market players. Furthermore, prevailing technology and business models have marginalised community radio services and regional audiences.

The analysis does not cover the demand side (contents, culture) nor developments in non‐terrestrial digital platforms, nor in the US‐based IBOC standard.

There is considerable scope, particularly in large, sparsely inhabited countries with sizeable rural audiences to remedy the failings of the current fragmented approach through regulatory intervention through platform integration.

There is a lack of coherent information published on the potential benefits that the new digital platforms are bringing to the audio broadcasting market, and on the current market difficulties they face. The article remedies this gap.

The purpose of this paper is to produce a critical history of MP3 technology in an effort to show how its stature as the digital music format of choice had nothing to do with music or associated industries and that its configuration as a product to be bought and sold was unintended.

The approach is reminiscent of Michel Foucault's critical histories, which sought to problematise our current understanding of existing cultural arrangements by unearthing the conditions that made the production of knowledge and their accompanying artefacts possible.

The paper documents how MP3s emerged by outlining the conditions that made its production viable, showing how before MP3s were profiled as commodities to be bought and sold online, the composite of technologies making up the standard MPEG1‐Layer III were objects of knowledge within the fields of electrical engineering and psychoacoustics, and later a process of compression used mainly by audio broadcasting professionals. The paper concludes by examining MPEG1‐Layer III's reconstitution as MP3: its formal configuration and valuation, first as a license for the broadcasting industry to compress sound and then as a “free‐ware” application distributed online.

The paper problematises the taken for granted status of commodities, in this case, MP3s, as digital music to be bought and sold, by revealing how they emerged. At a more parochial level, it produces a competing history of MP3 technology which until now has not been told.

The paper aims to analyse the development of broadcast radio in the USA during the 1920 s, focusing on the legislative and regulatory background, considering the broadcasting spectrum, programme content, and nature of radio as an information resource at that time.

An analysis of primary materials, and of recent secondary materials, is carried out.

The legislative and regulatory framework failed to take note of the unique attributes of information resources, and attempted to treat them in the same manner as more traditional resources. Records of the early days of USA radio are very limited. More positively, radio information resources played a major part in developing several aspects of society, including education, agriculture, and jazz culture.

The study shows lessons for development of current information society. The research is limited to one communication medium, in one country, in one decade. It is not a full historical analysis of the development of radio broadcasting, rather it is limited to information resource aspects, largely of public sector broadcasting.

The paper is the first study of the early development of radio broadcasting from an information perspective. It shows the value of the “information‐as‐resource” model for analysing developments in the communication of information.

The authors have developed the “Ethernet Speaker” (ES), a network‐enabled single board computer embedded into a conventional audio speaker. Audio streams are transmitted in the local area network using multicast packets, and the ES can select any one of them and play it back. A key requirement for the ES is that it must be capable of playing any type of audio stream, independent of the streaming protocol, or the encoding used. The authors achieved this by providing a streaming audio server built using the kernel‐based audio stream redirector (ASR) in the OpenBSD kernel. The ASR accepts input from any of the existing audio file players, or streaming audio clients. Since all audio applications have to be able to use the system audio driver, this system can accommodate any protocol or file format, provided that there exists some compatible player running under OpenBSD. This paper discusses the design and implementation of the server as an ASR, the streaming protocol developed for this application, and the implementation of the client.