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If an NPSH"A" is say 10 bar then the pump you are using will deliver exactly 10 bar more over the entire operational curve of a pump than its listed operational curve. | NPSH problems may be able to be solved by changing the NPSH"R" or by re-siting the pump. | 1 |
If an NPSH"A" is say 10 bar then the pump you are using will deliver exactly 10 bar more over the entire operational curve of a pump than its listed operational curve. | The NPSH appears in a number of other cavitation-relevant parameters. The suction head coefficient is a dimensionless measure of NPSH: | 0 |
If an NPSH"A" is say 10 bar then the pump you are using will deliver exactly 10 bar more over the entire operational curve of a pump than its listed operational curve. | Serious damage may occur if a large pump has been sited incorrectly with an incorrect NPSH"R" value and this may result in a very expensive pump or installation repair. | 1 |
If an NPSH"A" is say 10 bar then the pump you are using will deliver exactly 10 bar more over the entire operational curve of a pump than its listed operational curve. | The violent collapse of the cavitation bubble creates a shock wave that can carve material from internal pump components (usually the leading edge of the impeller) and creates noise often described as "pumping gravel". Additionally, the inevitable increase in vibration can cause other mechanical faults in the pump and associated equipment. | 0 |
Example: A pump with a max. pressure head of 8 bar (80 metres) will actually run at 18 bar if the NPSH"A" is 10 bar. | Example Number 1: A tank with a liquid level 2 metres above the pump intake, plus the atmospheric pressure of 10 metres, minus a 2 metre friction loss into the pump (say for pipe & valve loss), minus the NPSH"R" curve (say 2.5 metres) of the pre-designed pump (see the manufacturers curve) = an NPSH"A" (available) of 7.5 metres. (not forgetting the flow duty). This equates to 3 times the NPSH required. This pump will operate well so long as all other parameters are correct. | 1 |
Example: A pump with a max. pressure head of 8 bar (80 metres) will actually run at 18 bar if the NPSH"A" is 10 bar. | Vapour pressure is strongly dependent on temperature, and thus so will both NPSH"R" and NPSH"A". Centrifugal pumps are particularly vulnerable especially when pumping heated solution near the vapor pressure, whereas positive displacement pumps are less affected by cavitation, as they are better able to pump two-phase flow (the mixture of gas and liquid), however, the resultant flow rate of the pump will be diminished because of the gas volumetrically displacing a disproportion of liquid. Careful design is required to pump high temperature liquids with a centrifugal pump when the liquid is near its boiling point. | 0 |
Example: A pump with a max. pressure head of 8 bar (80 metres) will actually run at 18 bar if the NPSH"A" is 10 bar. | Example Number 2: A well or bore with an operating level of 5 metres below the intake, minus a 2 metre friction loss into pump (pipe loss), minus the NPSH"R" curve (say 2.4 metres) of the pre-designed pump = an NPSH"A" (available) of (negative) -9.4 metres. Adding the atmospheric pressure of 10 metres gives a positive NPSH"A" of 0.6 metres. The minimum requirement is 0.6 metres above NPSH"R"), so the pump should lift from the well. | 1 |
Example: A pump with a max. pressure head of 8 bar (80 metres) will actually run at 18 bar if the NPSH"A" is 10 bar. | Using the above application of Bernoulli to eliminate the velocity term and local pressure terms in the definition of NPSH"A": | 0 |
Example: A pump with a max. pressure head of 8 bar (80 metres) will actually run at 18 bar if the NPSH"A" is 10 bar. | Lifting out of a well will also create negative NPSH; however remember that atmospheric pressure at sea level is 10 metres! This helps us, as it gives us a bonus boost or “push” into the pump intake. (Remember that you only have 10 metres of atmospheric pressure as a bonus and nothing more!). | 1 |
Example: A pump with a max. pressure head of 8 bar (80 metres) will actually run at 18 bar if the NPSH"A" is 10 bar. | Note that, in turbines minor friction losses (formula_12) alleviate the effect of cavitation - opposite to what happens in pumps. | 0 |
i.e.: 8 bar (pump curve) plus 10 bar NPSH"A" = 18 bar. | Example Number 3: A well or bore running at 70 degrees Celsius (158F) with an operating level of 5 metres below the intake, minus a 2 metre friction loss into pump (pipe loss), minus the NPSH"R" curve (say 2.4 metres) of the pre-designed pump, minus a temperature loss of 3 metres/10 feet = an NPSH"A" (available) of (negative) -12.4 metres. Adding the atmospheric pressure of 10 metres and gives a negative NPSH"A" of -2.4 metres remaining. | 1 |
i.e.: 8 bar (pump curve) plus 10 bar NPSH"A" = 18 bar. | Using the above application of Bernoulli to eliminate the velocity term and local pressure terms in the definition of NPSH"A": | 0 |
i.e.: 8 bar (pump curve) plus 10 bar NPSH"A" = 18 bar. | If an NPSH"A" is say 10 bar then the pump you are using will deliver exactly 10 bar more over the entire operational curve of a pump than its listed operational curve. | 1 |
i.e.: 8 bar (pump curve) plus 10 bar NPSH"A" = 18 bar. | In a pump, cavitation will first occur at the inlet of the impeller. Denoting the inlet by "i", the NPSH"A" at this point is defined as: | 0 |
i.e.: 8 bar (pump curve) plus 10 bar NPSH"A" = 18 bar. | Remembering that the minimum requirement is 600 mm above the NPSH"R" therefore this pump will not be able to pump the 70 degree Celsius liquid and will cavitate and lose performance and cause damage. To work efficiently, the pump must be buried in the ground at a depth of 2.4 metres plus the required 600 mm minimum, totalling a total depth of 3 metres into the pit. (3.5 metres to be completely safe). | 1 |
i.e.: 8 bar (pump curve) plus 10 bar NPSH"A" = 18 bar. | Net positive suction head:2687833 | 0 |
This phenomenon is what manufacturers use when they design multistage pumps, (Pumps with more than one impeller). Each multi stacked impeller boosts the succeeding impeller to raise the pressure head. Some pumps can have up to 150 stages or more, in order to boost heads up to hundreds of metres. | Example Number 3: A well or bore running at 70 degrees Celsius (158F) with an operating level of 5 metres below the intake, minus a 2 metre friction loss into pump (pipe loss), minus the NPSH"R" curve (say 2.4 metres) of the pre-designed pump, minus a temperature loss of 3 metres/10 feet = an NPSH"A" (available) of (negative) -12.4 metres. Adding the atmospheric pressure of 10 metres and gives a negative NPSH"A" of -2.4 metres remaining. | 1 |
This phenomenon is what manufacturers use when they design multistage pumps, (Pumps with more than one impeller). Each multi stacked impeller boosts the succeeding impeller to raise the pressure head. Some pumps can have up to 150 stages or more, in order to boost heads up to hundreds of metres. | Where formula_14 is the angular velocity (in rad/s) of the turbo-machine shaft, and formula_15 is the turbo-machine impeller diameter. Thoma's cavitation number is defined as: | 0 |
This phenomenon is what manufacturers use when they design multistage pumps, (Pumps with more than one impeller). Each multi stacked impeller boosts the succeeding impeller to raise the pressure head. Some pumps can have up to 150 stages or more, in order to boost heads up to hundreds of metres. | Using the situation from example 2 above, but pumping 70 degrees Celsius (158F) water from a hot spring, creating negative NPSH, yields the following: | 1 |
This phenomenon is what manufacturers use when they design multistage pumps, (Pumps with more than one impeller). Each multi stacked impeller boosts the succeeding impeller to raise the pressure head. Some pumps can have up to 150 stages or more, in order to boost heads up to hundreds of metres. | In a hydraulic circuit, net positive suction head (NPSH) may refer to one of two quantities in the analysis of cavitation: | 0 |
This phenomenon is what manufacturers use when they design multistage pumps, (Pumps with more than one impeller). Each multi stacked impeller boosts the succeeding impeller to raise the pressure head. Some pumps can have up to 150 stages or more, in order to boost heads up to hundreds of metres. | Example Number 1: A tank with a liquid level 2 metres above the pump intake, plus the atmospheric pressure of 10 metres, minus a 2 metre friction loss into the pump (say for pipe & valve loss), minus the NPSH"R" curve (say 2.5 metres) of the pre-designed pump (see the manufacturers curve) = an NPSH"A" (available) of 7.5 metres. (not forgetting the flow duty). This equates to 3 times the NPSH required. This pump will operate well so long as all other parameters are correct. | 1 |
This phenomenon is what manufacturers use when they design multistage pumps, (Pumps with more than one impeller). Each multi stacked impeller boosts the succeeding impeller to raise the pressure head. Some pumps can have up to 150 stages or more, in order to boost heads up to hundreds of metres. | Net positive suction head:2687833 | 0 |
On his return to Paris after his honeymoon, he was conscripted into the French army. After one year in the tank regiment, he was transferred to the SHAPE headquarters to serve as an interpreter. One day in the cafeteria he met a young American corporal, Larry Collins, a Yale graduate and draftee. They became friends instantly. When Collins was discharged he was offered a job with Procter & Gamble. Two days before reporting to the new job, the United Press offered him a job as caption writer at their Paris office, for much less money than offered by Procter & Gamble. Collins took the offer from United Press and was soon picked up by "Newsweek" to be their correspondent in the Middle East. When Lapierre was discharged, he found work as a reporter for the magazine "Paris Match". Collins became the godfather of the Lapierres' first child, Alexandra. On several occasions, Collins and Lapierre met while on assignment. In spite of their friendship they had to compete with each other for stories. But they decided to join forces to tell a big story which would appeal to both French and anglophone audiences. Their first bestseller "Is Paris Burning?" sold close to ten million copies in thirty languages. In this book they mixed the modern technique of investigation journalism with the classical methods of historical research. | Two of Lapierre's books – "Is Paris Burning?" (co-written with Larry Collins) and "City of Joy" – have been made into films. Lapierre and Collins wrote several other books together, the last being "Is New York Burning?" (2005), before Collins' death in 2005. | 1 |
On his return to Paris after his honeymoon, he was conscripted into the French army. After one year in the tank regiment, he was transferred to the SHAPE headquarters to serve as an interpreter. One day in the cafeteria he met a young American corporal, Larry Collins, a Yale graduate and draftee. They became friends instantly. When Collins was discharged he was offered a job with Procter & Gamble. Two days before reporting to the new job, the United Press offered him a job as caption writer at their Paris office, for much less money than offered by Procter & Gamble. Collins took the offer from United Press and was soon picked up by "Newsweek" to be their correspondent in the Middle East. When Lapierre was discharged, he found work as a reporter for the magazine "Paris Match". Collins became the godfather of the Lapierres' first child, Alexandra. On several occasions, Collins and Lapierre met while on assignment. In spite of their friendship they had to compete with each other for stories. But they decided to join forces to tell a big story which would appeal to both French and anglophone audiences. Their first bestseller "Is Paris Burning?" sold close to ten million copies in thirty languages. In this book they mixed the modern technique of investigation journalism with the classical methods of historical research. | Dominique Lapierre (born 30 July 1931 in Châtelaillon, Charente-Maritime, France) is a French author. | 0 |
After that they spent four years in Jerusalem to reconstruct the birth of the State of Israel for the book "O Jerusalem!". Lapierre is proud that after spending a great deal of time in Jerusalem he knows each alley, square, street, and building in the Holy City intimately. | Two of Lapierre's books – "Is Paris Burning?" (co-written with Larry Collins) and "City of Joy" – have been made into films. Lapierre and Collins wrote several other books together, the last being "Is New York Burning?" (2005), before Collins' death in 2005. | 1 |
After that they spent four years in Jerusalem to reconstruct the birth of the State of Israel for the book "O Jerusalem!". Lapierre is proud that after spending a great deal of time in Jerusalem he knows each alley, square, street, and building in the Holy City intimately. | Dominique Lapierre (born 30 July 1931 in Châtelaillon, Charente-Maritime, France) is a French author. | 0 |
Two of Lapierre's books – "Is Paris Burning?" (co-written with Larry Collins) and "City of Joy" – have been made into films. Lapierre and Collins wrote several other books together, the last being "Is New York Burning?" (2005), before Collins' death in 2005. | On his return to Paris after his honeymoon, he was conscripted into the French army. After one year in the tank regiment, he was transferred to the SHAPE headquarters to serve as an interpreter. One day in the cafeteria he met a young American corporal, Larry Collins, a Yale graduate and draftee. They became friends instantly. When Collins was discharged he was offered a job with Procter & Gamble. Two days before reporting to the new job, the United Press offered him a job as caption writer at their Paris office, for much less money than offered by Procter & Gamble. Collins took the offer from United Press and was soon picked up by "Newsweek" to be their correspondent in the Middle East. When Lapierre was discharged, he found work as a reporter for the magazine "Paris Match". Collins became the godfather of the Lapierres' first child, Alexandra. On several occasions, Collins and Lapierre met while on assignment. In spite of their friendship they had to compete with each other for stories. But they decided to join forces to tell a big story which would appeal to both French and anglophone audiences. Their first bestseller "Is Paris Burning?" sold close to ten million copies in thirty languages. In this book they mixed the modern technique of investigation journalism with the classical methods of historical research. | 1 |
Two of Lapierre's books – "Is Paris Burning?" (co-written with Larry Collins) and "City of Joy" – have been made into films. Lapierre and Collins wrote several other books together, the last being "Is New York Burning?" (2005), before Collins' death in 2005. | At the age of six, he developed a passion for automobiles. Each summer, while at his grandparents' Atlantic coast beach house, he marvelled at the wonders of his uncle's American cars. When he was a Fulbright exchange student at Lafayette College, he bought, for thirty dollars, a convertible Chrysler Royal he found in a junkyard. Forty-five years later, he saw a photograph of the same Chrysler in a French vintage car magazine. The automobile was about to be auctioned in Poitiers. He rushed to the auction, made a bid, and won it. When he was a student at the University of Paris, he acquired an old Amil car, which he and a classmate drove all the way to Ankara, Turkey. He has told stories about how he drove the car in reverse to have enough torque to get through the mountain passes. Later, in a Rolls-Royce he bought on his fortieth birthday, he drove from Bombay to Saint Tropez via Pakistan, Afghanistan, Iran and Turkey. | 0 |
WAIO:12444269 | WAIO has an effective radiated power (ERP) of 50,000 watts, the maximum for this part of the U.S. The transmitter is on Baker Road in Victor, New York, amid the towers for other FM radio stations in the area. WAIO broadcasts in the HD Radio hybrid format. Its HD2 subchannel carries an adult contemporary format known as "Lite Rock". | 1 |
WAIO:12444269 | The modern rock format lasted until New Year's Day 1999, when The Nerve made their "Resolution to Rock." This essentially meant that Classic Rock songs were now entered into rotation. This was a very controversial move because the station formerly aired imaging that would make fun of 'Dinosaur Rock' (with liners saying that 'in the Dinosaur age people used to listen to suck rock like Loverboy and Styx'), and listeners were now disenfranchised to hear these and similar bands now being played. It was at this point that WNVE lost a large portion of its listener base. | 0 |
WAIO (95.1 MHz, "Radio 95.1") is a commercial FM radio station licensed to Honeoye Falls, New York, and serving the Rochester metropolitan area. The station airs a classic rock radio format and is owned and operated by iHeartMedia, Inc. Its studios and offices are located at the Five Star Bank Plaza building in downtown Rochester. The station features one of the longest running morning comedy shows in the region, hosted by Brother Wease. | WAIO:12444269 | 1 |
WAIO (95.1 MHz, "Radio 95.1") is a commercial FM radio station licensed to Honeoye Falls, New York, and serving the Rochester metropolitan area. The station airs a classic rock radio format and is owned and operated by iHeartMedia, Inc. Its studios and offices are located at the Five Star Bank Plaza building in downtown Rochester. The station features one of the longest running morning comedy shows in the region, hosted by Brother Wease. | On December 25, 1991, WZSH became WRQI ("Rock-It 95"), programming a rock format. In 1993, Rock-It 95 added the syndicated Howard Stern show to its lineup, bringing the station attention and ratings in the larger Rochester market. | 0 |
WAIO has an effective radiated power (ERP) of 50,000 watts, the maximum for this part of the U.S. The transmitter is on Baker Road in Victor, New York, amid the towers for other FM radio stations in the area. WAIO broadcasts in the HD Radio hybrid format. Its HD2 subchannel carries an adult contemporary format known as "Lite Rock". | WAIO (95.1 MHz, "Radio 95.1") is a commercial FM radio station licensed to Honeoye Falls, New York, and serving the Rochester metropolitan area. The station airs a classic rock radio format and is owned and operated by iHeartMedia, Inc. Its studios and offices are located at the Five Star Bank Plaza building in downtown Rochester. The station features one of the longest running morning comedy shows in the region, hosted by Brother Wease. | 1 |
WAIO has an effective radiated power (ERP) of 50,000 watts, the maximum for this part of the U.S. The transmitter is on Baker Road in Victor, New York, amid the towers for other FM radio stations in the area. WAIO broadcasts in the HD Radio hybrid format. Its HD2 subchannel carries an adult contemporary format known as "Lite Rock". | On April 30, 2012, WFXF rebranded as "95.1 The Brew", with the intent of shifting its playlist to 1970s thru 1980s, and even early 1990s rock, dropping most of the 1960s from its rotation. Wease remained with the station. On May 10, 2012 the station also changed its call sign to WQBW, previously used by Clear Channel in Milwaukee on what is now WRNW. | 0 |
On April 1, 1995, after an 11-hour stunt of a loop of "The End" by The Doors, WRQI became WNVE ("The Nerve"). Playing off the frequency similarity between the main 95.1 signal and the powerful 95.5 translator, the station frequently identified as "95.1, 95.5 the Nerve," usually spoken quickly by an announcer (an amusing promo bump was recorded featuring Howard Stern producer Gary Dell'Abate, where Gary expresses confusion at the dual-frequencies. "95.1/95.5...? Wait, that's two different stations!"). There was also a bump identifying the translator station ID W238AB that was played occasionally, spoken as quickly as possible. The Nerve's format was originally Modern Rock, featuring music being played by well-known bands such as Nirvana, Pearl Jam, Smashing Pumpkins, Soundgarden, Live, Stone Temple Pilots, as well as alternative music from lesser-remembered artists such as Poe, Veruca Salt, The Refreshments, The Toadies, and many others. | The Nerve later would add brief local news reports during station breaks, usually as bumpers around breaks in the morning broadcast of Howard Stern. These news reports were often delivered by Bill Lowe from WHAM, the prominent news and talk AM station. Some degree of humor was derived by hearing the serious baritone voice of Bill Lowe give the station's sign off, "95.1/95.5 The Nerve, 'It Just Rocks.'" Of note, radio personality "JoLo" would host the Saturday Morning Show with e-Man. This was, of course, Joe Lomonaco, host of WHAM's popular "WHAM 5:00 News Hour." For an April Fool's Day joke in the late 1990s, WHAM and WNVE swapped DJs for a few shifts. Mid-day WHAM talkshow host Bob Lonsberry came over to The Nerve and swapped shifts with e-Man, who went over to the newstalk station, much to the amused chagrin of local listeners. | 1 |
On April 1, 1995, after an 11-hour stunt of a loop of "The End" by The Doors, WRQI became WNVE ("The Nerve"). Playing off the frequency similarity between the main 95.1 signal and the powerful 95.5 translator, the station frequently identified as "95.1, 95.5 the Nerve," usually spoken quickly by an announcer (an amusing promo bump was recorded featuring Howard Stern producer Gary Dell'Abate, where Gary expresses confusion at the dual-frequencies. "95.1/95.5...? Wait, that's two different stations!"). There was also a bump identifying the translator station ID W238AB that was played occasionally, spoken as quickly as possible. The Nerve's format was originally Modern Rock, featuring music being played by well-known bands such as Nirvana, Pearl Jam, Smashing Pumpkins, Soundgarden, Live, Stone Temple Pilots, as well as alternative music from lesser-remembered artists such as Poe, Veruca Salt, The Refreshments, The Toadies, and many others. | On December 25, 1991, WZSH became WRQI ("Rock-It 95"), programming a rock format. In 1993, Rock-It 95 added the syndicated Howard Stern show to its lineup, bringing the station attention and ratings in the larger Rochester market. | 0 |
On April 1, 1995, after an 11-hour stunt of a loop of "The End" by The Doors, WRQI became WNVE ("The Nerve"). Playing off the frequency similarity between the main 95.1 signal and the powerful 95.5 translator, the station frequently identified as "95.1, 95.5 the Nerve," usually spoken quickly by an announcer (an amusing promo bump was recorded featuring Howard Stern producer Gary Dell'Abate, where Gary expresses confusion at the dual-frequencies. "95.1/95.5...? Wait, that's two different stations!"). There was also a bump identifying the translator station ID W238AB that was played occasionally, spoken as quickly as possible. The Nerve's format was originally Modern Rock, featuring music being played by well-known bands such as Nirvana, Pearl Jam, Smashing Pumpkins, Soundgarden, Live, Stone Temple Pilots, as well as alternative music from lesser-remembered artists such as Poe, Veruca Salt, The Refreshments, The Toadies, and many others. | Howard Stern was broadcast on weekday mornings. Weekday evenings at 5 PM consisted of "The Drive at Five" which was an all-request, call-in hour. This segment was usually introduced by DJ 'E-Man' with The Jon Spencer Blues Explosion's "Right Place Wrong Time" playing. There would also be a segment called "The Five at Nine", where the five most requested songs of the day would be played. Early mainstays at number one on this list were Poe's "Angry Johnny," The Toadies' "Possum Kingdom," Tracy Bonham's "Mother Mother," and others. In the fall of 1996, a shortly-lived segment was introduced where the DJ would play two very new songs, usually by relatively unknown artists, back to back. The listeners would then call in and vote on which of the two would be allowed to remain in rotation. The winner would then move on to the next night, although it would already be allowed to remain in rotation even if it lost a later round. An early streak winner on this segment was The Bloodhound Gang's "Fire Water Burn," long before it worked its way into the Five at Nine. | 1 |
On April 1, 1995, after an 11-hour stunt of a loop of "The End" by The Doors, WRQI became WNVE ("The Nerve"). Playing off the frequency similarity between the main 95.1 signal and the powerful 95.5 translator, the station frequently identified as "95.1, 95.5 the Nerve," usually spoken quickly by an announcer (an amusing promo bump was recorded featuring Howard Stern producer Gary Dell'Abate, where Gary expresses confusion at the dual-frequencies. "95.1/95.5...? Wait, that's two different stations!"). There was also a bump identifying the translator station ID W238AB that was played occasionally, spoken as quickly as possible. The Nerve's format was originally Modern Rock, featuring music being played by well-known bands such as Nirvana, Pearl Jam, Smashing Pumpkins, Soundgarden, Live, Stone Temple Pilots, as well as alternative music from lesser-remembered artists such as Poe, Veruca Salt, The Refreshments, The Toadies, and many others. | During the WRQI era, the 105.5 translator in East Rochester was replaced with a more powerful 250-watt translator, W238AB at 95.5, operating from the centrally-located Pinnacle Hill transmitter site overlooking downtown Rochester. WRQI made several attempts to improve its main signal on 95.1 as well, briefly moving from its historic Bristol Mountain site to a tower in Farmington owned by Rochester Telephone, but was forced to return to Bristol after interference complaints from the tower's neighbors. | 0 |
Howard Stern was broadcast on weekday mornings. Weekday evenings at 5 PM consisted of "The Drive at Five" which was an all-request, call-in hour. This segment was usually introduced by DJ 'E-Man' with The Jon Spencer Blues Explosion's "Right Place Wrong Time" playing. There would also be a segment called "The Five at Nine", where the five most requested songs of the day would be played. Early mainstays at number one on this list were Poe's "Angry Johnny," The Toadies' "Possum Kingdom," Tracy Bonham's "Mother Mother," and others. In the fall of 1996, a shortly-lived segment was introduced where the DJ would play two very new songs, usually by relatively unknown artists, back to back. The listeners would then call in and vote on which of the two would be allowed to remain in rotation. The winner would then move on to the next night, although it would already be allowed to remain in rotation even if it lost a later round. An early streak winner on this segment was The Bloodhound Gang's "Fire Water Burn," long before it worked its way into the Five at Nine. | The Nerve would also frequently give out tickets to local concerts featuring artists that were played on the station. Listeners would have to listen for Rage Against the Machine's "Take the Power Back" accompanied by a strange voice instructing them to call in to win. | 1 |
Howard Stern was broadcast on weekday mornings. Weekday evenings at 5 PM consisted of "The Drive at Five" which was an all-request, call-in hour. This segment was usually introduced by DJ 'E-Man' with The Jon Spencer Blues Explosion's "Right Place Wrong Time" playing. There would also be a segment called "The Five at Nine", where the five most requested songs of the day would be played. Early mainstays at number one on this list were Poe's "Angry Johnny," The Toadies' "Possum Kingdom," Tracy Bonham's "Mother Mother," and others. In the fall of 1996, a shortly-lived segment was introduced where the DJ would play two very new songs, usually by relatively unknown artists, back to back. The listeners would then call in and vote on which of the two would be allowed to remain in rotation. The winner would then move on to the next night, although it would already be allowed to remain in rotation even if it lost a later round. An early streak winner on this segment was The Bloodhound Gang's "Fire Water Burn," long before it worked its way into the Five at Nine. | WAIO has an effective radiated power (ERP) of 50,000 watts, the maximum for this part of the U.S. The transmitter is on Baker Road in Victor, New York, amid the towers for other FM radio stations in the area. WAIO broadcasts in the HD Radio hybrid format. Its HD2 subchannel carries an adult contemporary format known as "Lite Rock". | 0 |
Howard Stern was broadcast on weekday mornings. Weekday evenings at 5 PM consisted of "The Drive at Five" which was an all-request, call-in hour. This segment was usually introduced by DJ 'E-Man' with The Jon Spencer Blues Explosion's "Right Place Wrong Time" playing. There would also be a segment called "The Five at Nine", where the five most requested songs of the day would be played. Early mainstays at number one on this list were Poe's "Angry Johnny," The Toadies' "Possum Kingdom," Tracy Bonham's "Mother Mother," and others. In the fall of 1996, a shortly-lived segment was introduced where the DJ would play two very new songs, usually by relatively unknown artists, back to back. The listeners would then call in and vote on which of the two would be allowed to remain in rotation. The winner would then move on to the next night, although it would already be allowed to remain in rotation even if it lost a later round. An early streak winner on this segment was The Bloodhound Gang's "Fire Water Burn," long before it worked its way into the Five at Nine. | The modern rock format lasted until New Year's Day 1999, when The Nerve made their "Resolution to Rock." This essentially meant that Classic Rock songs were now entered into rotation. This was a very controversial move because the station formerly aired imaging that would make fun of 'Dinosaur Rock' (with liners saying that 'in the Dinosaur age people used to listen to suck rock like Loverboy and Styx'), and listeners were now disenfranchised to hear these and similar bands now being played. It was at this point that WNVE lost a large portion of its listener base. | 1 |
Howard Stern was broadcast on weekday mornings. Weekday evenings at 5 PM consisted of "The Drive at Five" which was an all-request, call-in hour. This segment was usually introduced by DJ 'E-Man' with The Jon Spencer Blues Explosion's "Right Place Wrong Time" playing. There would also be a segment called "The Five at Nine", where the five most requested songs of the day would be played. Early mainstays at number one on this list were Poe's "Angry Johnny," The Toadies' "Possum Kingdom," Tracy Bonham's "Mother Mother," and others. In the fall of 1996, a shortly-lived segment was introduced where the DJ would play two very new songs, usually by relatively unknown artists, back to back. The listeners would then call in and vote on which of the two would be allowed to remain in rotation. The winner would then move on to the next night, although it would already be allowed to remain in rotation even if it lost a later round. An early streak winner on this segment was The Bloodhound Gang's "Fire Water Burn," long before it worked its way into the Five at Nine. | The station made a massive DJ change bringing in Kimberly and Beck, who were recently at WBZA, to host from 2pm to 7pm weekdays after Brother Wease in the morning. These changes were on top of other changes made by Clear Channel to other stations it owned in the Rochester market the same day. The call letters were changed to WAIO on September 19, 2014. On August 6, 2020, following Kimberly and Beck's earlier dismissal for making racist comments on the air, WAIO debuted "The Big Show" in the same time slot, featuring comedian Earl David Reed along with former iHeartMedia DJ's Megan Carter and Pat McMahon. | 0 |
The Nerve would also frequently give out tickets to local concerts featuring artists that were played on the station. Listeners would have to listen for Rage Against the Machine's "Take the Power Back" accompanied by a strange voice instructing them to call in to win. | Meanwhile, WNVE had moved studios and changed owners. In 1996, it was sold to Jacor Communications (later absorbed by Clear Channel Communications, now known as iHeartMedia), which relocated the studios from East Rochester to the Euclid Building in Midtown Plaza in downtown Rochester, home to its cluster of stations that also included WHAM and WVOR. | 1 |
The Nerve would also frequently give out tickets to local concerts featuring artists that were played on the station. Listeners would have to listen for Rage Against the Machine's "Take the Power Back" accompanied by a strange voice instructing them to call in to win. | In 2006, WFXF began broadcasting in HD Radio, adding a subchannel of "Deep Rock" classic rock from the Format Lab. | 0 |
The Nerve would also frequently give out tickets to local concerts featuring artists that were played on the station. Listeners would have to listen for Rage Against the Machine's "Take the Power Back" accompanied by a strange voice instructing them to call in to win. | On April 1, 1995, after an 11-hour stunt of a loop of "The End" by The Doors, WRQI became WNVE ("The Nerve"). Playing off the frequency similarity between the main 95.1 signal and the powerful 95.5 translator, the station frequently identified as "95.1, 95.5 the Nerve," usually spoken quickly by an announcer (an amusing promo bump was recorded featuring Howard Stern producer Gary Dell'Abate, where Gary expresses confusion at the dual-frequencies. "95.1/95.5...? Wait, that's two different stations!"). There was also a bump identifying the translator station ID W238AB that was played occasionally, spoken as quickly as possible. The Nerve's format was originally Modern Rock, featuring music being played by well-known bands such as Nirvana, Pearl Jam, Smashing Pumpkins, Soundgarden, Live, Stone Temple Pilots, as well as alternative music from lesser-remembered artists such as Poe, Veruca Salt, The Refreshments, The Toadies, and many others. | 1 |
The Nerve would also frequently give out tickets to local concerts featuring artists that were played on the station. Listeners would have to listen for Rage Against the Machine's "Take the Power Back" accompanied by a strange voice instructing them to call in to win. | In 2006, WFXF began broadcasting in HD Radio, adding a subchannel of "Deep Rock" classic rock from the Format Lab. | 0 |
The modern rock format lasted until New Year's Day 1999, when The Nerve made their "Resolution to Rock." This essentially meant that Classic Rock songs were now entered into rotation. This was a very controversial move because the station formerly aired imaging that would make fun of 'Dinosaur Rock' (with liners saying that 'in the Dinosaur age people used to listen to suck rock like Loverboy and Styx'), and listeners were now disenfranchised to hear these and similar bands now being played. It was at this point that WNVE lost a large portion of its listener base. | On April 1, 1995, after an 11-hour stunt of a loop of "The End" by The Doors, WRQI became WNVE ("The Nerve"). Playing off the frequency similarity between the main 95.1 signal and the powerful 95.5 translator, the station frequently identified as "95.1, 95.5 the Nerve," usually spoken quickly by an announcer (an amusing promo bump was recorded featuring Howard Stern producer Gary Dell'Abate, where Gary expresses confusion at the dual-frequencies. "95.1/95.5...? Wait, that's two different stations!"). There was also a bump identifying the translator station ID W238AB that was played occasionally, spoken as quickly as possible. The Nerve's format was originally Modern Rock, featuring music being played by well-known bands such as Nirvana, Pearl Jam, Smashing Pumpkins, Soundgarden, Live, Stone Temple Pilots, as well as alternative music from lesser-remembered artists such as Poe, Veruca Salt, The Refreshments, The Toadies, and many others. | 1 |
The modern rock format lasted until New Year's Day 1999, when The Nerve made their "Resolution to Rock." This essentially meant that Classic Rock songs were now entered into rotation. This was a very controversial move because the station formerly aired imaging that would make fun of 'Dinosaur Rock' (with liners saying that 'in the Dinosaur age people used to listen to suck rock like Loverboy and Styx'), and listeners were now disenfranchised to hear these and similar bands now being played. It was at this point that WNVE lost a large portion of its listener base. | On April 30, 2012, WFXF rebranded as "95.1 The Brew", with the intent of shifting its playlist to 1970s thru 1980s, and even early 1990s rock, dropping most of the 1960s from its rotation. Wease remained with the station. On May 10, 2012 the station also changed its call sign to WQBW, previously used by Clear Channel in Milwaukee on what is now WRNW. | 0 |
The modern rock format lasted until New Year's Day 1999, when The Nerve made their "Resolution to Rock." This essentially meant that Classic Rock songs were now entered into rotation. This was a very controversial move because the station formerly aired imaging that would make fun of 'Dinosaur Rock' (with liners saying that 'in the Dinosaur age people used to listen to suck rock like Loverboy and Styx'), and listeners were now disenfranchised to hear these and similar bands now being played. It was at this point that WNVE lost a large portion of its listener base. | Howard Stern was broadcast on weekday mornings. Weekday evenings at 5 PM consisted of "The Drive at Five" which was an all-request, call-in hour. This segment was usually introduced by DJ 'E-Man' with The Jon Spencer Blues Explosion's "Right Place Wrong Time" playing. There would also be a segment called "The Five at Nine", where the five most requested songs of the day would be played. Early mainstays at number one on this list were Poe's "Angry Johnny," The Toadies' "Possum Kingdom," Tracy Bonham's "Mother Mother," and others. In the fall of 1996, a shortly-lived segment was introduced where the DJ would play two very new songs, usually by relatively unknown artists, back to back. The listeners would then call in and vote on which of the two would be allowed to remain in rotation. The winner would then move on to the next night, although it would already be allowed to remain in rotation even if it lost a later round. An early streak winner on this segment was The Bloodhound Gang's "Fire Water Burn," long before it worked its way into the Five at Nine. | 1 |
The modern rock format lasted until New Year's Day 1999, when The Nerve made their "Resolution to Rock." This essentially meant that Classic Rock songs were now entered into rotation. This was a very controversial move because the station formerly aired imaging that would make fun of 'Dinosaur Rock' (with liners saying that 'in the Dinosaur age people used to listen to suck rock like Loverboy and Styx'), and listeners were now disenfranchised to hear these and similar bands now being played. It was at this point that WNVE lost a large portion of its listener base. | In 2006, WFXF began broadcasting in HD Radio, adding a subchannel of "Deep Rock" classic rock from the Format Lab. | 0 |
Meanwhile, WNVE had moved studios and changed owners. In 1996, it was sold to Jacor Communications (later absorbed by Clear Channel Communications, now known as iHeartMedia), which relocated the studios from East Rochester to the Euclid Building in Midtown Plaza in downtown Rochester, home to its cluster of stations that also included WHAM and WVOR. | The Nerve later would add brief local news reports during station breaks, usually as bumpers around breaks in the morning broadcast of Howard Stern. These news reports were often delivered by Bill Lowe from WHAM, the prominent news and talk AM station. Some degree of humor was derived by hearing the serious baritone voice of Bill Lowe give the station's sign off, "95.1/95.5 The Nerve, 'It Just Rocks.'" Of note, radio personality "JoLo" would host the Saturday Morning Show with e-Man. This was, of course, Joe Lomonaco, host of WHAM's popular "WHAM 5:00 News Hour." For an April Fool's Day joke in the late 1990s, WHAM and WNVE swapped DJs for a few shifts. Mid-day WHAM talkshow host Bob Lonsberry came over to The Nerve and swapped shifts with e-Man, who went over to the newstalk station, much to the amused chagrin of local listeners. | 1 |
Meanwhile, WNVE had moved studios and changed owners. In 1996, it was sold to Jacor Communications (later absorbed by Clear Channel Communications, now known as iHeartMedia), which relocated the studios from East Rochester to the Euclid Building in Midtown Plaza in downtown Rochester, home to its cluster of stations that also included WHAM and WVOR. | During the WRQI era, the 105.5 translator in East Rochester was replaced with a more powerful 250-watt translator, W238AB at 95.5, operating from the centrally-located Pinnacle Hill transmitter site overlooking downtown Rochester. WRQI made several attempts to improve its main signal on 95.1 as well, briefly moving from its historic Bristol Mountain site to a tower in Farmington owned by Rochester Telephone, but was forced to return to Bristol after interference complaints from the tower's neighbors. | 0 |
Meanwhile, WNVE had moved studios and changed owners. In 1996, it was sold to Jacor Communications (later absorbed by Clear Channel Communications, now known as iHeartMedia), which relocated the studios from East Rochester to the Euclid Building in Midtown Plaza in downtown Rochester, home to its cluster of stations that also included WHAM and WVOR. | On April 1, 1995, after an 11-hour stunt of a loop of "The End" by The Doors, WRQI became WNVE ("The Nerve"). Playing off the frequency similarity between the main 95.1 signal and the powerful 95.5 translator, the station frequently identified as "95.1, 95.5 the Nerve," usually spoken quickly by an announcer (an amusing promo bump was recorded featuring Howard Stern producer Gary Dell'Abate, where Gary expresses confusion at the dual-frequencies. "95.1/95.5...? Wait, that's two different stations!"). There was also a bump identifying the translator station ID W238AB that was played occasionally, spoken as quickly as possible. The Nerve's format was originally Modern Rock, featuring music being played by well-known bands such as Nirvana, Pearl Jam, Smashing Pumpkins, Soundgarden, Live, Stone Temple Pilots, as well as alternative music from lesser-remembered artists such as Poe, Veruca Salt, The Refreshments, The Toadies, and many others. | 1 |
Meanwhile, WNVE had moved studios and changed owners. In 1996, it was sold to Jacor Communications (later absorbed by Clear Channel Communications, now known as iHeartMedia), which relocated the studios from East Rochester to the Euclid Building in Midtown Plaza in downtown Rochester, home to its cluster of stations that also included WHAM and WVOR. | On April 30, 2012, WFXF rebranded as "95.1 The Brew", with the intent of shifting its playlist to 1970s thru 1980s, and even early 1990s rock, dropping most of the 1960s from its rotation. Wease remained with the station. On May 10, 2012 the station also changed its call sign to WQBW, previously used by Clear Channel in Milwaukee on what is now WRNW. | 0 |
The Nerve later would add brief local news reports during station breaks, usually as bumpers around breaks in the morning broadcast of Howard Stern. These news reports were often delivered by Bill Lowe from WHAM, the prominent news and talk AM station. Some degree of humor was derived by hearing the serious baritone voice of Bill Lowe give the station's sign off, "95.1/95.5 The Nerve, 'It Just Rocks.'" Of note, radio personality "JoLo" would host the Saturday Morning Show with e-Man. This was, of course, Joe Lomonaco, host of WHAM's popular "WHAM 5:00 News Hour." For an April Fool's Day joke in the late 1990s, WHAM and WNVE swapped DJs for a few shifts. Mid-day WHAM talkshow host Bob Lonsberry came over to The Nerve and swapped shifts with e-Man, who went over to the newstalk station, much to the amused chagrin of local listeners. | The modern rock format lasted until New Year's Day 1999, when The Nerve made their "Resolution to Rock." This essentially meant that Classic Rock songs were now entered into rotation. This was a very controversial move because the station formerly aired imaging that would make fun of 'Dinosaur Rock' (with liners saying that 'in the Dinosaur age people used to listen to suck rock like Loverboy and Styx'), and listeners were now disenfranchised to hear these and similar bands now being played. It was at this point that WNVE lost a large portion of its listener base. | 1 |
The Nerve later would add brief local news reports during station breaks, usually as bumpers around breaks in the morning broadcast of Howard Stern. These news reports were often delivered by Bill Lowe from WHAM, the prominent news and talk AM station. Some degree of humor was derived by hearing the serious baritone voice of Bill Lowe give the station's sign off, "95.1/95.5 The Nerve, 'It Just Rocks.'" Of note, radio personality "JoLo" would host the Saturday Morning Show with e-Man. This was, of course, Joe Lomonaco, host of WHAM's popular "WHAM 5:00 News Hour." For an April Fool's Day joke in the late 1990s, WHAM and WNVE swapped DJs for a few shifts. Mid-day WHAM talkshow host Bob Lonsberry came over to The Nerve and swapped shifts with e-Man, who went over to the newstalk station, much to the amused chagrin of local listeners. | While most airshifts were initially automated, "95.1 the Fox" gradually added air personalities, including a voicetracked afternoon shift from Clear Channel Boston DJ Ed McMann. | 0 |
The Nerve later would add brief local news reports during station breaks, usually as bumpers around breaks in the morning broadcast of Howard Stern. These news reports were often delivered by Bill Lowe from WHAM, the prominent news and talk AM station. Some degree of humor was derived by hearing the serious baritone voice of Bill Lowe give the station's sign off, "95.1/95.5 The Nerve, 'It Just Rocks.'" Of note, radio personality "JoLo" would host the Saturday Morning Show with e-Man. This was, of course, Joe Lomonaco, host of WHAM's popular "WHAM 5:00 News Hour." For an April Fool's Day joke in the late 1990s, WHAM and WNVE swapped DJs for a few shifts. Mid-day WHAM talkshow host Bob Lonsberry came over to The Nerve and swapped shifts with e-Man, who went over to the newstalk station, much to the amused chagrin of local listeners. | Meanwhile, WNVE had moved studios and changed owners. In 1996, it was sold to Jacor Communications (later absorbed by Clear Channel Communications, now known as iHeartMedia), which relocated the studios from East Rochester to the Euclid Building in Midtown Plaza in downtown Rochester, home to its cluster of stations that also included WHAM and WVOR. | 1 |
The Nerve later would add brief local news reports during station breaks, usually as bumpers around breaks in the morning broadcast of Howard Stern. These news reports were often delivered by Bill Lowe from WHAM, the prominent news and talk AM station. Some degree of humor was derived by hearing the serious baritone voice of Bill Lowe give the station's sign off, "95.1/95.5 The Nerve, 'It Just Rocks.'" Of note, radio personality "JoLo" would host the Saturday Morning Show with e-Man. This was, of course, Joe Lomonaco, host of WHAM's popular "WHAM 5:00 News Hour." For an April Fool's Day joke in the late 1990s, WHAM and WNVE swapped DJs for a few shifts. Mid-day WHAM talkshow host Bob Lonsberry came over to The Nerve and swapped shifts with e-Man, who went over to the newstalk station, much to the amused chagrin of local listeners. | WAIO (95.1 MHz, "Radio 95.1") is a commercial FM radio station licensed to Honeoye Falls, New York, and serving the Rochester metropolitan area. The station airs a classic rock radio format and is owned and operated by iHeartMedia, Inc. Its studios and offices are located at the Five Star Bank Plaza building in downtown Rochester. The station features one of the longest running morning comedy shows in the region, hosted by Brother Wease. | 0 |
In February 2004, Howard Stern was dropped from WNVE and other Clear Channel sister stations across the country due to indecency complaints. Stern later struck a deal with Infinity Broadcasting to be carried in nine new cities (including four new stations in markets where Clear Channel dropped his show); Infinity-owned WZNE would pick up Stern that July 19. Without its main ratings draw in the morning, WNVE's ratings fell precipitously. On July 4, 2004, Clear Channel moved WNVE from 95.1 to the lesser Bristol Mountain 107.3 signal. Replacing it on 95.1 was the former 107.3 classic rock format, "The Fox," with new calls WFXF. | In 2006, WFXF began broadcasting in HD Radio, adding a subchannel of "Deep Rock" classic rock from the Format Lab. | 1 |
In February 2004, Howard Stern was dropped from WNVE and other Clear Channel sister stations across the country due to indecency complaints. Stern later struck a deal with Infinity Broadcasting to be carried in nine new cities (including four new stations in markets where Clear Channel dropped his show); Infinity-owned WZNE would pick up Stern that July 19. Without its main ratings draw in the morning, WNVE's ratings fell precipitously. On July 4, 2004, Clear Channel moved WNVE from 95.1 to the lesser Bristol Mountain 107.3 signal. Replacing it on 95.1 was the former 107.3 classic rock format, "The Fox," with new calls WFXF. | With the breakup of the CBN radio operation, each of the former Rural Radio Network stations was sold to separate owners. WMIV was sold to Empire Broadcasting. In early 1982, it changed format to adult standards, becoming one of the first FM affiliates of Al Ham's Music of Your Life syndicated format. On March 4, 1982, WMIV changed calls to WYLF ("Life 95.1"), operating from studios in a converted house on Route 332 in Farmington, New York and later adding a sales office at 213 E. Commercial Street in East Rochester. | 0 |
While most airshifts were initially automated, "95.1 the Fox" gradually added air personalities, including a voicetracked afternoon shift from Clear Channel Boston DJ Ed McMann. | In February 2004, Howard Stern was dropped from WNVE and other Clear Channel sister stations across the country due to indecency complaints. Stern later struck a deal with Infinity Broadcasting to be carried in nine new cities (including four new stations in markets where Clear Channel dropped his show); Infinity-owned WZNE would pick up Stern that July 19. Without its main ratings draw in the morning, WNVE's ratings fell precipitously. On July 4, 2004, Clear Channel moved WNVE from 95.1 to the lesser Bristol Mountain 107.3 signal. Replacing it on 95.1 was the former 107.3 classic rock format, "The Fox," with new calls WFXF. | 1 |
While most airshifts were initially automated, "95.1 the Fox" gradually added air personalities, including a voicetracked afternoon shift from Clear Channel Boston DJ Ed McMann. | In 1985, Empire sold WYLF to Boston broadcasters Ron Frizzell and Arnold Lerner, operating as the "Finger Lakes Wireless Talking Machine Company." On July 28, 1986, WYLF became WZSH ("Wish 95"), moving from adult standards to soft adult contemporary with a format that mimicked Lerner's successful WSSH in the Boston market. WZSH moved its studios from Farmington to the Piano Works office complex in East Rochester and placed a translator, W288AR at 105.5 MHz, on the air from the East Rochester water tower. | 0 |
In 2006, WFXF began broadcasting in HD Radio, adding a subchannel of "Deep Rock" classic rock from the Format Lab. | In February 2004, Howard Stern was dropped from WNVE and other Clear Channel sister stations across the country due to indecency complaints. Stern later struck a deal with Infinity Broadcasting to be carried in nine new cities (including four new stations in markets where Clear Channel dropped his show); Infinity-owned WZNE would pick up Stern that July 19. Without its main ratings draw in the morning, WNVE's ratings fell precipitously. On July 4, 2004, Clear Channel moved WNVE from 95.1 to the lesser Bristol Mountain 107.3 signal. Replacing it on 95.1 was the former 107.3 classic rock format, "The Fox," with new calls WFXF. | 1 |
In 2006, WFXF began broadcasting in HD Radio, adding a subchannel of "Deep Rock" classic rock from the Format Lab. | The station now known as WAIO signed on June 6, 1948 as WVBT, licensed to Bristol Center, New York and transmitting from Bristol Mountain on 101.9 MHz. It was the next-to-last link in the Rural Radio Network chain of FM stations broadcasting to farmers across upstate New York. WVBT changed call letters to WRRE and changed frequency to 95.1 in the early 1950s. When the Rural Radio Network became the Ivy Network under new owners in 1960, WRRE became WMIV. It would retain those calls under the network's next identity, the Christian Broadcasting Network (CBN), broadcasting religious programming from studios in Ithaca between 1968 and 1981. | 0 |
On November 17, 2008, WFXF began airing the popular radio program hosted by Brother Wease, one of the city's most popular veteran radio personalities who had previously hosted the morning show at crosstown competitor WCMF. Also in 2008, WFXF became a Rochester affiliate (along with sister station WHAM) of the Buffalo Bills regional radio network. | While most airshifts were initially automated, "95.1 the Fox" gradually added air personalities, including a voicetracked afternoon shift from Clear Channel Boston DJ Ed McMann. | 1 |
On November 17, 2008, WFXF began airing the popular radio program hosted by Brother Wease, one of the city's most popular veteran radio personalities who had previously hosted the morning show at crosstown competitor WCMF. Also in 2008, WFXF became a Rochester affiliate (along with sister station WHAM) of the Buffalo Bills regional radio network. | The station now known as WAIO signed on June 6, 1948 as WVBT, licensed to Bristol Center, New York and transmitting from Bristol Mountain on 101.9 MHz. It was the next-to-last link in the Rural Radio Network chain of FM stations broadcasting to farmers across upstate New York. WVBT changed call letters to WRRE and changed frequency to 95.1 in the early 1950s. When the Rural Radio Network became the Ivy Network under new owners in 1960, WRRE became WMIV. It would retain those calls under the network's next identity, the Christian Broadcasting Network (CBN), broadcasting religious programming from studios in Ithaca between 1968 and 1981. | 0 |
Bob Carver:2012501 | Educated as a physicist and engineer, he found an interest in audio equipment at a young age. He applied his talent to produce numerous innovative high fidelity designs since the 1970s. He is known for designing the Phase Linear 700, at 350 W per channel the most powerful consumer audio amplifier available in 1972. He went on to found the Carver Corporation in 1979, Sunfire in 1994, and the Bob Carver LLC in 2011 which was sold to Jade Design in June, 2013. | 1 |
Bob Carver:2012501 | The information on Carver products comes from Carver product brochures and manuals. Carver's career has been extensively covered by audio industry magazines including "Stereophile", "Audio", "High Fidelity", and "Stereo Review". | 0 |
Robert W. (Bob) Carver is an American designer of audio equipment based in the Pacific Northwest. | Bob Carver:2012501 | 1 |
Robert W. (Bob) Carver is an American designer of audio equipment based in the Pacific Northwest. | In 1985, "Stereophile" magazine challenged Bob to copy a Conrad-Johnson Premier Four (the make and model was not named then, but revealed later) amplifier at their offices in New Mexico within 48 hours. The Conrad Johnson amplifiers were one of the most highly regarded amplifiers of the day, costing in excess of $6,000 a pair. | 0 |
Educated as a physicist and engineer, he found an interest in audio equipment at a young age. He applied his talent to produce numerous innovative high fidelity designs since the 1970s. He is known for designing the Phase Linear 700, at 350 W per channel the most powerful consumer audio amplifier available in 1972. He went on to found the Carver Corporation in 1979, Sunfire in 1994, and the Bob Carver LLC in 2011 which was sold to Jade Design in June, 2013. | Bob Carver:2012501 | 1 |
Educated as a physicist and engineer, he found an interest in audio equipment at a young age. He applied his talent to produce numerous innovative high fidelity designs since the 1970s. He is known for designing the Phase Linear 700, at 350 W per channel the most powerful consumer audio amplifier available in 1972. He went on to found the Carver Corporation in 1979, Sunfire in 1994, and the Bob Carver LLC in 2011 which was sold to Jade Design in June, 2013. | The information on Carver products comes from Carver product brochures and manuals. Carver's career has been extensively covered by audio industry magazines including "Stereophile", "Audio", "High Fidelity", and "Stereo Review". | 0 |
However, in December 2013, Bob Carver and Jade Design parted ways. | Robert W. (Bob) Carver is an American designer of audio equipment based in the Pacific Northwest. | 1 |
However, in December 2013, Bob Carver and Jade Design parted ways. | Carver has used some names in marketing which have other technical definitions: | 0 |
Carver caused a stir in the industry in the mid-1980s when he challenged two high-end audio magazines to give him any audio amplifier at any price, and he’d duplicate its sound in one of his lower cost (and usually much more powerful) designs. Two magazines accepted the challenge. | In both cases, the challenging amplifier could only be treated as a “black box” and could not even have its lid removed. Nevertheless, Carver, used null difference testing, (null difference testing consists of driving two different amplifiers with identical signal sources and exact levels, but out of phase by exactly 180 degrees. If the amplifiers were 100% identical, no sound would be heard. If sound was heard, the audio amps had different properties). Bob Carver used "distortion pots" to introduce amplifier characteristics, fine-tuned to null-out any sound differences. His modified amplifier sound was so similar, Stereophile Magazine editors could not tell the difference between his amplifier and one costing more than $6,000. This amplifier was marketed as the M1.0t for about $400.00. Carver successfully copied the sound of the target amplifier and won the challenge. The "Stereophile" employees failed to tell the difference in their own listening room. He marketed “t” versions of his amplifiers incorporating the sound of the Mark Levinson and Conrad Johnson designs which caused him some criticism. In light of this criticism, Carver went on to design the Silver Seven, the most expensive and esoteric conventional amplifier up to that time and duplicated its sound in his M 4.0t and later models which sold for some 1/40th the price (around $600–$1500). | 1 |
Carver caused a stir in the industry in the mid-1980s when he challenged two high-end audio magazines to give him any audio amplifier at any price, and he’d duplicate its sound in one of his lower cost (and usually much more powerful) designs. Two magazines accepted the challenge. | The information on Carver products comes from Carver product brochures and manuals. Carver's career has been extensively covered by audio industry magazines including "Stereophile", "Audio", "High Fidelity", and "Stereo Review". | 0 |
Carver caused a stir in the industry in the mid-1980s when he challenged two high-end audio magazines to give him any audio amplifier at any price, and he’d duplicate its sound in one of his lower cost (and usually much more powerful) designs. Two magazines accepted the challenge. | First, "The Audio Critic" chose a Mark Levinson ML-2 which Bob acoustically copied (transfer function duplication) and sold as his M1.5t amplifier (the “t” stood for transfer function modified). | 1 |
Carver caused a stir in the industry in the mid-1980s when he challenged two high-end audio magazines to give him any audio amplifier at any price, and he’d duplicate its sound in one of his lower cost (and usually much more powerful) designs. Two magazines accepted the challenge. | Carver has used some names in marketing which have other technical definitions: | 0 |
First, "The Audio Critic" chose a Mark Levinson ML-2 which Bob acoustically copied (transfer function duplication) and sold as his M1.5t amplifier (the “t” stood for transfer function modified). | Carver also later sued "Stereophile" magazine for its alleged bias against Carver products. ("Stereophile" had first filed suit against Carver for reprinting the magazine's copyrighted material without authorization.) The case was arbitrated with neither side awarded damages. | 1 |
First, "The Audio Critic" chose a Mark Levinson ML-2 which Bob acoustically copied (transfer function duplication) and sold as his M1.5t amplifier (the “t” stood for transfer function modified). | Bob Carver:2012501 | 0 |
First, "The Audio Critic" chose a Mark Levinson ML-2 which Bob acoustically copied (transfer function duplication) and sold as his M1.5t amplifier (the “t” stood for transfer function modified). | Carver caused a stir in the industry in the mid-1980s when he challenged two high-end audio magazines to give him any audio amplifier at any price, and he’d duplicate its sound in one of his lower cost (and usually much more powerful) designs. Two magazines accepted the challenge. | 1 |
First, "The Audio Critic" chose a Mark Levinson ML-2 which Bob acoustically copied (transfer function duplication) and sold as his M1.5t amplifier (the “t” stood for transfer function modified). | The information on Carver products comes from Carver product brochures and manuals. Carver's career has been extensively covered by audio industry magazines including "Stereophile", "Audio", "High Fidelity", and "Stereo Review". | 0 |
In 1985, "Stereophile" magazine challenged Bob to copy a Conrad-Johnson Premier Four (the make and model was not named then, but revealed later) amplifier at their offices in New Mexico within 48 hours. The Conrad Johnson amplifiers were one of the most highly regarded amplifiers of the day, costing in excess of $6,000 a pair. | In both cases, the challenging amplifier could only be treated as a “black box” and could not even have its lid removed. Nevertheless, Carver, used null difference testing, (null difference testing consists of driving two different amplifiers with identical signal sources and exact levels, but out of phase by exactly 180 degrees. If the amplifiers were 100% identical, no sound would be heard. If sound was heard, the audio amps had different properties). Bob Carver used "distortion pots" to introduce amplifier characteristics, fine-tuned to null-out any sound differences. His modified amplifier sound was so similar, Stereophile Magazine editors could not tell the difference between his amplifier and one costing more than $6,000. This amplifier was marketed as the M1.0t for about $400.00. Carver successfully copied the sound of the target amplifier and won the challenge. The "Stereophile" employees failed to tell the difference in their own listening room. He marketed “t” versions of his amplifiers incorporating the sound of the Mark Levinson and Conrad Johnson designs which caused him some criticism. In light of this criticism, Carver went on to design the Silver Seven, the most expensive and esoteric conventional amplifier up to that time and duplicated its sound in his M 4.0t and later models which sold for some 1/40th the price (around $600–$1500). | 1 |
In 1985, "Stereophile" magazine challenged Bob to copy a Conrad-Johnson Premier Four (the make and model was not named then, but revealed later) amplifier at their offices in New Mexico within 48 hours. The Conrad Johnson amplifiers were one of the most highly regarded amplifiers of the day, costing in excess of $6,000 a pair. | Carver has used some names in marketing which have other technical definitions: | 0 |
In 1985, "Stereophile" magazine challenged Bob to copy a Conrad-Johnson Premier Four (the make and model was not named then, but revealed later) amplifier at their offices in New Mexico within 48 hours. The Conrad Johnson amplifiers were one of the most highly regarded amplifiers of the day, costing in excess of $6,000 a pair. | Carver caused a stir in the industry in the mid-1980s when he challenged two high-end audio magazines to give him any audio amplifier at any price, and he’d duplicate its sound in one of his lower cost (and usually much more powerful) designs. Two magazines accepted the challenge. | 1 |
In 1985, "Stereophile" magazine challenged Bob to copy a Conrad-Johnson Premier Four (the make and model was not named then, but revealed later) amplifier at their offices in New Mexico within 48 hours. The Conrad Johnson amplifiers were one of the most highly regarded amplifiers of the day, costing in excess of $6,000 a pair. | The information on Carver products comes from Carver product brochures and manuals. Carver's career has been extensively covered by audio industry magazines including "Stereophile", "Audio", "High Fidelity", and "Stereo Review". | 0 |
In both cases, the challenging amplifier could only be treated as a “black box” and could not even have its lid removed. Nevertheless, Carver, used null difference testing, (null difference testing consists of driving two different amplifiers with identical signal sources and exact levels, but out of phase by exactly 180 degrees. If the amplifiers were 100% identical, no sound would be heard. If sound was heard, the audio amps had different properties). Bob Carver used "distortion pots" to introduce amplifier characteristics, fine-tuned to null-out any sound differences. His modified amplifier sound was so similar, Stereophile Magazine editors could not tell the difference between his amplifier and one costing more than $6,000. This amplifier was marketed as the M1.0t for about $400.00. Carver successfully copied the sound of the target amplifier and won the challenge. The "Stereophile" employees failed to tell the difference in their own listening room. He marketed “t” versions of his amplifiers incorporating the sound of the Mark Levinson and Conrad Johnson designs which caused him some criticism. In light of this criticism, Carver went on to design the Silver Seven, the most expensive and esoteric conventional amplifier up to that time and duplicated its sound in his M 4.0t and later models which sold for some 1/40th the price (around $600–$1500). | Carver also later sued "Stereophile" magazine for its alleged bias against Carver products. ("Stereophile" had first filed suit against Carver for reprinting the magazine's copyrighted material without authorization.) The case was arbitrated with neither side awarded damages. | 1 |
In both cases, the challenging amplifier could only be treated as a “black box” and could not even have its lid removed. Nevertheless, Carver, used null difference testing, (null difference testing consists of driving two different amplifiers with identical signal sources and exact levels, but out of phase by exactly 180 degrees. If the amplifiers were 100% identical, no sound would be heard. If sound was heard, the audio amps had different properties). Bob Carver used "distortion pots" to introduce amplifier characteristics, fine-tuned to null-out any sound differences. His modified amplifier sound was so similar, Stereophile Magazine editors could not tell the difference between his amplifier and one costing more than $6,000. This amplifier was marketed as the M1.0t for about $400.00. Carver successfully copied the sound of the target amplifier and won the challenge. The "Stereophile" employees failed to tell the difference in their own listening room. He marketed “t” versions of his amplifiers incorporating the sound of the Mark Levinson and Conrad Johnson designs which caused him some criticism. In light of this criticism, Carver went on to design the Silver Seven, the most expensive and esoteric conventional amplifier up to that time and duplicated its sound in his M 4.0t and later models which sold for some 1/40th the price (around $600–$1500). | Carver has used some names in marketing which have other technical definitions: | 0 |
In both cases, the challenging amplifier could only be treated as a “black box” and could not even have its lid removed. Nevertheless, Carver, used null difference testing, (null difference testing consists of driving two different amplifiers with identical signal sources and exact levels, but out of phase by exactly 180 degrees. If the amplifiers were 100% identical, no sound would be heard. If sound was heard, the audio amps had different properties). Bob Carver used "distortion pots" to introduce amplifier characteristics, fine-tuned to null-out any sound differences. His modified amplifier sound was so similar, Stereophile Magazine editors could not tell the difference between his amplifier and one costing more than $6,000. This amplifier was marketed as the M1.0t for about $400.00. Carver successfully copied the sound of the target amplifier and won the challenge. The "Stereophile" employees failed to tell the difference in their own listening room. He marketed “t” versions of his amplifiers incorporating the sound of the Mark Levinson and Conrad Johnson designs which caused him some criticism. In light of this criticism, Carver went on to design the Silver Seven, the most expensive and esoteric conventional amplifier up to that time and duplicated its sound in his M 4.0t and later models which sold for some 1/40th the price (around $600–$1500). | First, "The Audio Critic" chose a Mark Levinson ML-2 which Bob acoustically copied (transfer function duplication) and sold as his M1.5t amplifier (the “t” stood for transfer function modified). | 1 |
In both cases, the challenging amplifier could only be treated as a “black box” and could not even have its lid removed. Nevertheless, Carver, used null difference testing, (null difference testing consists of driving two different amplifiers with identical signal sources and exact levels, but out of phase by exactly 180 degrees. If the amplifiers were 100% identical, no sound would be heard. If sound was heard, the audio amps had different properties). Bob Carver used "distortion pots" to introduce amplifier characteristics, fine-tuned to null-out any sound differences. His modified amplifier sound was so similar, Stereophile Magazine editors could not tell the difference between his amplifier and one costing more than $6,000. This amplifier was marketed as the M1.0t for about $400.00. Carver successfully copied the sound of the target amplifier and won the challenge. The "Stereophile" employees failed to tell the difference in their own listening room. He marketed “t” versions of his amplifiers incorporating the sound of the Mark Levinson and Conrad Johnson designs which caused him some criticism. In light of this criticism, Carver went on to design the Silver Seven, the most expensive and esoteric conventional amplifier up to that time and duplicated its sound in his M 4.0t and later models which sold for some 1/40th the price (around $600–$1500). | The information on Carver products comes from Carver product brochures and manuals. Carver's career has been extensively covered by audio industry magazines including "Stereophile", "Audio", "High Fidelity", and "Stereo Review". | 0 |
This also started Carver's departure from the M-series amplifier to the more robust and current-pushing TFM series amplifiers. The TFM amplifiers were designed specifically to drive the demanding load of the Amazing ribbon loudspeakers. The apex of Carver's amplifier line was the Lightstar, which is now a collectors' item. Only approximately 100 of the amplifiers were made. The original Lightstar amplifier, called the Lightstar Reference, featured a dual-monoblock design, with separate power cords for each channel. A later version, called the Lightstar 2.0, featured one power cord & other cost-saving measures to shave approximately $1800 off the retail price. The two are reported to be sonically identical. | In both cases, the challenging amplifier could only be treated as a “black box” and could not even have its lid removed. Nevertheless, Carver, used null difference testing, (null difference testing consists of driving two different amplifiers with identical signal sources and exact levels, but out of phase by exactly 180 degrees. If the amplifiers were 100% identical, no sound would be heard. If sound was heard, the audio amps had different properties). Bob Carver used "distortion pots" to introduce amplifier characteristics, fine-tuned to null-out any sound differences. His modified amplifier sound was so similar, Stereophile Magazine editors could not tell the difference between his amplifier and one costing more than $6,000. This amplifier was marketed as the M1.0t for about $400.00. Carver successfully copied the sound of the target amplifier and won the challenge. The "Stereophile" employees failed to tell the difference in their own listening room. He marketed “t” versions of his amplifiers incorporating the sound of the Mark Levinson and Conrad Johnson designs which caused him some criticism. In light of this criticism, Carver went on to design the Silver Seven, the most expensive and esoteric conventional amplifier up to that time and duplicated its sound in his M 4.0t and later models which sold for some 1/40th the price (around $600–$1500). | 1 |
This also started Carver's departure from the M-series amplifier to the more robust and current-pushing TFM series amplifiers. The TFM amplifiers were designed specifically to drive the demanding load of the Amazing ribbon loudspeakers. The apex of Carver's amplifier line was the Lightstar, which is now a collectors' item. Only approximately 100 of the amplifiers were made. The original Lightstar amplifier, called the Lightstar Reference, featured a dual-monoblock design, with separate power cords for each channel. A later version, called the Lightstar 2.0, featured one power cord & other cost-saving measures to shave approximately $1800 off the retail price. The two are reported to be sonically identical. | However, in December 2013, Bob Carver and Jade Design parted ways. | 0 |
This also started Carver's departure from the M-series amplifier to the more robust and current-pushing TFM series amplifiers. The TFM amplifiers were designed specifically to drive the demanding load of the Amazing ribbon loudspeakers. The apex of Carver's amplifier line was the Lightstar, which is now a collectors' item. Only approximately 100 of the amplifiers were made. The original Lightstar amplifier, called the Lightstar Reference, featured a dual-monoblock design, with separate power cords for each channel. A later version, called the Lightstar 2.0, featured one power cord & other cost-saving measures to shave approximately $1800 off the retail price. The two are reported to be sonically identical. | Carver caused a stir in the industry in the mid-1980s when he challenged two high-end audio magazines to give him any audio amplifier at any price, and he’d duplicate its sound in one of his lower cost (and usually much more powerful) designs. Two magazines accepted the challenge. | 1 |
This also started Carver's departure from the M-series amplifier to the more robust and current-pushing TFM series amplifiers. The TFM amplifiers were designed specifically to drive the demanding load of the Amazing ribbon loudspeakers. The apex of Carver's amplifier line was the Lightstar, which is now a collectors' item. Only approximately 100 of the amplifiers were made. The original Lightstar amplifier, called the Lightstar Reference, featured a dual-monoblock design, with separate power cords for each channel. A later version, called the Lightstar 2.0, featured one power cord & other cost-saving measures to shave approximately $1800 off the retail price. The two are reported to be sonically identical. | Robert W. (Bob) Carver is an American designer of audio equipment based in the Pacific Northwest. | 0 |
Carver also later sued "Stereophile" magazine for its alleged bias against Carver products. ("Stereophile" had first filed suit against Carver for reprinting the magazine's copyrighted material without authorization.) The case was arbitrated with neither side awarded damages. | This also started Carver's departure from the M-series amplifier to the more robust and current-pushing TFM series amplifiers. The TFM amplifiers were designed specifically to drive the demanding load of the Amazing ribbon loudspeakers. The apex of Carver's amplifier line was the Lightstar, which is now a collectors' item. Only approximately 100 of the amplifiers were made. The original Lightstar amplifier, called the Lightstar Reference, featured a dual-monoblock design, with separate power cords for each channel. A later version, called the Lightstar 2.0, featured one power cord & other cost-saving measures to shave approximately $1800 off the retail price. The two are reported to be sonically identical. | 1 |
Carver also later sued "Stereophile" magazine for its alleged bias against Carver products. ("Stereophile" had first filed suit against Carver for reprinting the magazine's copyrighted material without authorization.) The case was arbitrated with neither side awarded damages. | Robert W. (Bob) Carver is an American designer of audio equipment based in the Pacific Northwest. | 0 |
Carver also later sued "Stereophile" magazine for its alleged bias against Carver products. ("Stereophile" had first filed suit against Carver for reprinting the magazine's copyrighted material without authorization.) The case was arbitrated with neither side awarded damages. | First, "The Audio Critic" chose a Mark Levinson ML-2 which Bob acoustically copied (transfer function duplication) and sold as his M1.5t amplifier (the “t” stood for transfer function modified). | 1 |
Carver also later sued "Stereophile" magazine for its alleged bias against Carver products. ("Stereophile" had first filed suit against Carver for reprinting the magazine's copyrighted material without authorization.) The case was arbitrated with neither side awarded damages. | Educated as a physicist and engineer, he found an interest in audio equipment at a young age. He applied his talent to produce numerous innovative high fidelity designs since the 1970s. He is known for designing the Phase Linear 700, at 350 W per channel the most powerful consumer audio amplifier available in 1972. He went on to found the Carver Corporation in 1979, Sunfire in 1994, and the Bob Carver LLC in 2011 which was sold to Jade Design in June, 2013. | 0 |
Andain began as an experimental electronica group in 2000, making their breakthrough in 2002 with the song "Summer Calling", after getting attention from Tiësto and signing with Black Hole. This eventually lead to the production of a club remix by Josh Gabriel, which was then promoted on Tiësto's compilation album "", to later be released as a 12" single with the B-side "Gabriel & Dresden Remix". | While the sound of Andain would appear to be promoted as club oriented, a batch of leaked demos, namely "Time", "Get Up", "Make Me", "Ave Maria", and "You Once Told Me", would reveal a more experimental style of electronica with fusions of acoustic elements. As the leak would denote, the band was planning to record a full-length album, that was initially scheduled for a release in 2003. Meanwhile, "Beautiful Things" earned a nomination for Best Progressive / Trance under the Winter Music Conference 2004, with also Andain being nominated for Best New Dance Group. The year was also marked by a less prominent release from the band, with the track "Here is the House", a cover of Depeche Mode, presented on the compilation album "Bloom" by Gabriel & Dresden. | 1 |
Andain began as an experimental electronica group in 2000, making their breakthrough in 2002 with the song "Summer Calling", after getting attention from Tiësto and signing with Black Hole. This eventually lead to the production of a club remix by Josh Gabriel, which was then promoted on Tiësto's compilation album "", to later be released as a 12" single with the B-side "Gabriel & Dresden Remix". | On August 10, 2012, the anticipated album was officially announced on Andain's Facebook page. Titled "You Once Told Me", the record was finally released on September 24, 2012, featuring 11 tracks. Among the tracks, the album also featured new versions of the previously leaked "Ave Maria" and "You Once Told Me", while the exclusive iTunes LP Deluxe Version of the album housed another 8 additional bonus tracks, including the original version of "Summer Calling", and "Beautiful Things" in its classic club interpretation by Gabriel & Dresden. | 0 |
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