Radio Software

1. The encoder. The output of the studio mixer is compressed by encoder software. The encoder setting determines two things: sound quality and bandwidth cost. At a speech-heavy station 64 kbps AAC+ is usually enough; on a music-heavy broadcast 128 kbps MP3 or 96 kbps AAC+ is preferred. In the panel you can publish two streams at once: AAC+ for low bandwidth and MP3 for compatibility with older devices.

2. The stream server. The single stream coming from the encoder is replicated on the stream server and distributed to each listener as a separate connection. The number of simultaneous listeners is limited here; capacity is the listener count multiplied by the bit rate. A thousand simultaneous listeners on a 128 kbps stream means roughly 128 Mbps of sustained output. That is the real figure to look at when choosing a package.

3. Distribution. If your listeners are in a single city, the stream server alone is enough. If you are also listened to from abroad, a distribution layer comes in between; the connection is made from the nearest point, and latency and dropouts fall. The panel supports both scenarios and reports how many listeners connect from which point.

4. The player. The player on the site and in the mobile app reconnects by itself when the connection drops and refills the buffer. So that the broadcast does not stop when the page is refreshed, the player runs in a separate layer; the sound does not cut out while the user is browsing the site.

The whole of that chain is managed on the KEYDAL side. The encoder setting is made by the person in your studio; the remaining three stops are included in the package price and are monitored. When the stream drops, the panel raises an alert, the second server takes over and an incident record is kept.

You build a playlist in the panel and say between which hours it will run. The tracks play in order or shuffled, and you can place station jingles, top-of-the-hour announcements and ad breaks in between. When a live presenter goes on air, automation steps aside by itself, and it returns when the presenter leaves.

Repeat broadcasts are planned from the same place. The overnight repeat of a programme aired in the morning is taken automatically from the archive recording, and it is flagged as a repeat both in the schedule and on the site. That way listeners do not confuse the live show with the repeat, and repeats are counted separately in the advertising report.

Automation includes silence detection. If no sound comes from the stream for a set period, the panel raises an alert and switches to the backup playlist. It is one of those simple features that prove most useful: it stops the broadcast sitting silent for hours when a cable comes loose in the studio.

Audio advertising. Breaks are placed into time blocks; the length of each break, the number of spots in it and the days on which it will play are defined in advance. The post-broadcast report shows how many times and at what hours the spot played. That report can be exported in a form you can hand to the advertiser; at stations working with agencies it is very often exactly the document requested with the invoice.

Sponsorship. Programme sponsorship is subject to a different regime from audio advertising and has to be announced. In the panel the sponsored programme is flagged, the sponsor’s name and the announcement text are attached to it, and the opening and closing announcements are added to the schedule automatically. We covered what the legislation says about the sponsorship announcement in the sponsorship article.

On-site advertising. The radio website is a revenue area independent of the broadcast itself. Banner slots, sponsored content and automatic ad network codes are managed from the panel. The duty to make advertising distinguishable from content applies here too, and the panel forces sponsored content to be flagged.

Podcasts. A programme heard once on the live broadcast gains a second life when it is split into episodes and published as a podcast. The panel trims the recording from the archive, adds an episode description and cover art, and drops it into the RSS feed. The same content is heard both on the site and on Spotify and Apple Podcasts, and the play counts for both appear in a single report.

The request line, competition entries, newsletter subscriptions and app notifications all collect personal data. The panel keeps that data in one place, records what it was collected for and raises an alert for deletion when the retention period expires. There are ready fields for the privacy notice, the record of explicit consent and data subject requests.

Listener reports are aggregate and anonymous: how many people, for how long, from which city and on which device. The report given to the advertiser is that same anonymous data; the identity of individual listeners is not shared. For stations doing journalism, we covered the framework for using reader and listener data in the guide to copyright, data protection and access to information.

Listener messages read out on air are a separate matter. Messages pass through moderation in the panel, and those taken to air are recorded with a timestamp. If a message later becomes the subject of a complaint, the record shows which message went to air and when.

The player loads without waiting for the rest of the page. Images are converted to WebP and AVIF and resized versions are produced for each screen size, so that only the visible area is downloaded on first load. Full-page caching cuts the number of requests reaching the server, leaving the stream server’s capacity for listeners.

On mobile the player keeps running in the background. When the user switches to another app or locks the screen the sound does not stop, and the station name, the programme and the current track appear on the lock screen. The same behaviour applies in the mobile app and comes with car-screen support.

On the search engine side, programme and episode pages are marked up with structured data. Separate markup is used for podcast episodes, so the episode length, the publication date and the description appear in the search result. The station itself is also described as an organisation, so a knowledge panel forms on brand searches.

• Alan adı yönetim paneline erişim bilgisi - DNS geçişi için gerekir.
• The current stream server address, port and password, and a screenshot of the encoder settings.
• The programme list: name, presenter, day and time slot.
• Presenter biographies and photographs.
• The folder holding the archive recordings, or a link to the backup.
• If you publish podcasts, the address of the existing RSS feed.
• The logo files and brand colours used on air.
• The trade name, address, telephone, e-mail and electronic notification address to appear in the masthead.
• The broadcast calendar of any advertising and sponsorship agreements.
• If a mobile app is wanted, the developer account details or authority to open one.