Digital Television

You can get FOX with an antenna in the Tampa Florida area, and should also be able to get it in many other places where there is a FOX TV affiliated station.

If a television has a built in broadcast television digital tuner it will be in the menu set up.

No, if the outside antenna is in good condition and working there is no need for a indoor one.

Many television stations have been using digital signals for at least 30 years. They turned them into analog signals at the antenna for broadcast. Now they are simply leaving them in their original form.

Legally, you can't. Under International laws, tarriffs and treaties, and in the US, under FCC regulations, radio communication equipment is designed and manufactured to operate within specified output power limits. It is even illegal to work on transmitting equipment, including repair, without a proper license.j3h.

No, you can't use your house gutters for a TV antenna for a television set that is placed in your house.

I think you mean a (TV antenna amplifier) RF amplifier used with coax cable. The answer is YES it will work with DTV.

lamar i think

Go to your user's menu in the TV and rescan the channels. If it's there, it'll probably find it.

Get a digital to analog converter box or connect it to a digital DVD or vcr.

Well, in the manga when they change there really is no physical change, only how he speaks and how confident he becomes as Yami, which is what people see (ex. "It sounds like Yugi but his voice has so much power.." Something Anzu said when she was blindfolded in the manga)

In the anime, the puzzle glowing is more of a mental thing, and for the audience like, "HEADS UP! It's Yami now, baby!" Because, in the original, there is no physical change so even though there is in the English dub, they sort of oversee the fact that Yami is a lot taller and suddenly wears leather, they only notice the voice... and the fact he can control the shadows and mind crush.

There isn't one. No one knows when the next remote will come out that will have the right code(s.) Apparently, Sylvania just screwed everyone with their latest line of televisions, and they cannot be programmed to ANY universal remote.

If you were receiving a broadband analog signal, you could put in a signal splitter after the cable box, one line going to your TV and the other line to the DVR, as each has its own tuner. They would both receive a full choice of channels.

Since you are receiving an encrypted digital signal, and want to two channels to change (for ''both'' the TV or the DVR), you might need two tuners, which essentially "splits" the digital signal to your desired channel across two.

Sometimes cable companies will give you a deal for two converter boxes.

Try looking at the VEG-N video unit by http://www.rtv-veg.com/. It might do what you want.

We're not sure what you call "private" TV and radio. Those media are inherently

intended for wide distribution, since it's pretty difficult to limit the recipients of a

radio signal to a select group.

Most radio and TV "stations" operate for the purpose of profit. The product they sell

consists of your eyes and ears. Their customers are the businesses that buy time on

the broadcast signal, in increments of 10 or 15 seconds, which they use to pitch their

product to you. The purpose of the programing on each commercial station is to

enhance its appeal to you, increase the chance that you'll choose that station, and

thus increase the number of eyes and ears for sale to its business customers. The

station needs no subsidy. The eyes and ears it sells generate serious income,

that pays for its operation plus profit for its owners. If profit drops off for any

length of time, the programing changes to get the eyes and ears back, and

the station might be sold to others.

"Public" radio and TV are not operated primarily for profit, and are not supported

mainly by the sale of commercial time. They're supported by a combination of

listener/viewer donations, contributions from charitable and philanthropic foundations,

and a small amount from the National Endowment for the Arts. For roughly the

past 25 years, since the federal government's share dwindled to the point where

that combination of resources became insufficient to keep things going, public TV

stations one after another began to accept brief commercial plugs to run at the

beginning and end of their programs, for the additional revenue that they could

bring. It was a difficult decision, because station managers were well aware

that the appearance of commercial announcements would make it that much

harder to make the case for their continuing need for viewer support.

The cost of basic cable varies between different companies. As of 2014, the average cost of basic cable is between $15 and $20.

channel 8 is fox

If you are a DirecTV or Cox subscriber, you may sync a universal remote to your television using code 1548 or 11548.

These codes are for use with the following Coby television models:

TFTV1022, TFTV1212, TFTV1513, TFTV1514, TFTV1524, TFTV1913, TFTV1923, TFTV2214, TFTV2224, TFTV2617, TFTV3217, TFTV3717, TFTV4717

If the codes do not work, or if you are not a DirecTV or Cox customer, the universal remote control manufacturer is responsible for creating and embedding a Coby-compatible code in the remote control. Please contact your cable carrier or the universal remote control manufacturer for assistance.

http://www.cobyusa.com/?p=faq

This code works on my Comcast remote for my Coby TV: 11265

Interesting question. Having worked on LCD, DLP and plasma sets, I've found that a lot of it depends on several factors. Truth is, they can all provide fantastic pictures, but they also vary from model to model.

Much of it depends on your signal source, and one of the things you need to keep in mind, is when you're in a store looking at all the displays, the store will have provided the highest quality HDTV signal they can afford in their system, and they'll all look great.

When you get it home though, it's going to be a different story. It depends on whether you're taking the signal off air, whether or not you have analog or digital satellite or digital cable, how good the signal is from the receivers or cable box and whether or not it's a HD receiver/cable box.

But that's just the beginning. Are you using the HDMI (High definition Multimedia Interface) connection, RGB cables (quality varies greatly) or the regular RF inputs.

LCD TV's now have 1080 resolution, so does DLP and Plasma. So taking all the other items into consideration, it's really a personal choice of appearance, how it's mounted and optional features as well as personal budget.

The "best picture" comes when you have an extended warranty contract, and a reliable company to back it up. The reason for this is simply because some replacement parts and service calls would cost you as much as the TV did originally. That's something I've seen time and time again.

speed cluster only works sometimes

In the late 20th century American, the cultural capital of corporations has replaced many human forms of capital. As we buy, wear, and eat logos, we become the henchmen and admen of the corporations, defining ourselves with respect to the social standing of the various corporations. Some would say that this is the new form of tribalism, that in sport corporate logos we ritualize and humanize them, we redefine the cultural capital of the corporations in human social terms. I would say that a state where culture is indistinguishable from logo and where the practice of culture risks infringement of private property is a state that values the corporate over the human. (Susan Willis, 1993: 132-133 per Cole, 1995: 365) ---- Have we come to this? In light of the rash of killings over Nike shoes in 1991 and the continued market dominance of the brand, clearly Nike exerts a significant social and psychological force on the American consumer. It is my assertion that Nike appeals to a buying public that treats fitness as a worthy individual goal which simultaneously imparts social identification. The question remains, how? Nike ads, when first released were "treated like new plays or books" (Katz, 1994:153). Through semiotic analysis of a number of Nike advertisements, I hope to uncover at least the clues to Nike's pull on public imagination. (The Media and Communications Site concerning semiotic analysis informs this discussion and stands as a great study aid and interesting read) I plan to work with a small number of Nike ads that speak to the entire genre, though a thorough analysis would include the Air Jordan series, the women-oriented "Empathy"campaign, and All Conditions Gear ads to name a few. I hope to incorporate a wider variety of Nike advertisements at a later date. Nike's ads, like any other business's, require interpretation. Some of this reading goes on at the conscious level, some unconsciously. As opposed to extremists on either side of the interpretative question, I fall most nearly to the constructivist point of view in that I view meaning as an interplay between text and the reader. Chandler writes, "Texts are full of indeterminacies which require the reader's active interpretation. We must draw not only on our knowledge of language, but on our knowledge of the world." Thus, readers of advertisements bring with them a surface knowledge of the language as well as a set of preconceived ideas about how to relate the ad to themselves. These mental templates are known as schemata. Examples of these may include ideas of the rebel, corporate businessman, or avant-garde artist as well as Southern Baptist churches, universities, or mechanics' garages. Ads work on a variety of different levels including, but not limited to, sign typology, paradigmatic meaning, psychological appeals, emotion, roles, values/beliefs, and knowledge. Again, the impact of an ad comes from the interplay between these various aspects of make-up and the reader's own notions about him/herself and the world. So, taking the "Test Your Faith" ad as our first example: Straight off, the reader finds him/herself thrust into the schema of religious worship. Not only must the viewer literally look up to the runner, but he/she receives the imperative to "Test your faith." The runner pictured appears in the midst of a run and rests easy in the knowledge of his own god-like attention to fitness. Likewise, the runner has no identity beyond his role in the ad. That is, we cannot see his face, giving him an added element of the unknown divine. The reader feels cowed looking from a subordinate position at the figure of the runner in his element. The text implies a direct connection between exercising (in this case, running) and religious questioning. (cp. Nike and the Sanctification of Sport in the History section of this project) The writers seem to suggest an element of transcendence possible in exercise, as well as the need to continually question who we are in relation to our gods and what we hold most sacred. For the runner in the ad, exercise is the object of sanctity. Yet the reader might inhabit a different role by placing themselves as the runner in the ad itself. Transported from reading a magazine to the middle of a run, filled with the sensual pleasure of using one's body, the reader identifies him/herself as the 'tester of faith.' And finding the purity of exercise within the soul, the reader can accept a measure of hearty self-congratulation. A slightly dissimilar angle for interpretation would be to imagine the set of causes or drives that propelled the runner in the ad from his home to the streets for a run. Recall Bauman's statement of drive for fit bodies. The measure of the individual in contemporary society rests upon the extent to which they exercise their body. Seeing the runner engaged in a long run should impel the reader to imagine their own set of values and desires. What would it take to get them on the streets for a run? How important is exercise to that person? The ad places fitness as a top priority and suggests that the reader must acknowledge the fitness culture, even if they do not take an active part. Finally, the gritty gray and white tones of the advertisement insinuate a harsh world in which running becomes an escape. Reading the ad, perhaps themselves members of such a life, viewers will immediately seek the release and redemption that running and exercise offer. Moving on to another example of running advertising, we look at "You either ran...": Again placed in the dichotomy between athletes and spectators, the reader need only answer one question. Have I run today? Respondents will fall neatly into two categories and can take with them the requisite set of emotions that come with their answer. Identification and affiliation with others, approval, self-worth, and pride all spring from the answer 'yes.' Meanwhile, shame (first and foremost) and ostracization from the 'in-crowd' leave a bitter taste in the mouths of those answering 'no.' Placing the runner against a neutral background gives the appearance of a void in which must be placed the sum of viewers' athletic endeavors. They will be judged and given admittance or refusal to the world that Nike's runner inhabits. The world of the ad is composed of little more than the runner and the bland sky behind him. For the reader, the added force of the text--almost taunting, by now--makes the point clear. You must belong. Katz asserts that "Nike's ads in track and field and running [magazines] have long been acknowledged to be as much a way to support the sport's means of communication as ways to sell gear" (119). While this may be letting Nike off a bit easy, the advertisements above demonstrably speak to an elite group of readers well-versed in the intricacies of running. ---- All these factors tie into the ongoing cultural formation of the fit body discussed in this project's Fitness Culture section. During the late 1980s, Nike attained a relative saturation of the U.S. market for athletic goods and apparel, leaving Nike executives wondering 'where do we go from here?' Appealing to a higher sense of excellence (arete, to borrow another Greek word married to the philosophy of Nike), Nike hoped to inculcate a sense of individual accomplishment possible in sport as well as play into that very same sense already budding in the breasts of consumers. Herein lies another example of the indivisibility of the fitness culture and Nike's place in it. Phil Knight on marketing: "What Nike does well is to interpret what people are doing, what they're interested in, and we've been lucky enough to align ourselves completely with what we perceive" (Katz, 1994: 150). But one should not imagine Nike as a mere reflector of popular culture, as the advertising examples above relate. In fact, Jensen (Advertising Age, 12/16/96) imagines Nike's marketing formula to consist of the integration of the swoosh into the cultural fabric of sports and harnessing of its emotional power. Originally, Knight hated ads and spent much more on promotions. For example in 1976, only $100,000 were allocated for advertising versus $310,000 for promotion (Strasser & Becklund, 1994: 239). Knight and the other Nike executives knew well "the importance of owning athlete-endorsed apparel...to youth for the sense of cultural power and belonging it imparted" (Wilson & Sparks, 1996: 415). And who can deny the success of such long-term promotional efforts as the Nike Air Jordan campaign

take it off and test it with a volt meter.

It is unlikely that an indoor aerial will deliver a signal to drive a Freeview receiver. Digital television demands a good quality signal in order to decode it correctly. A poor analog signal would be shown by "snow" on the image. The same level of signal quality in a digital system would produce no picture at all.

It might be worth trying an indoor aerial. You may be lucky enough to be in a strong signal area. If not, you may need to consider an external aerial.

i don't know.its yours site u have to response.......bloody...