BTS

Resumen: Este artículo inicia con una breve síntesis acerca de la  estructura de los flujos únicos de paquetes de transporte TS,  así como su generación mediante OpenCaster. Luego se presenta una aplicación que sirve como interfaz entre el usuario y OpenCaster, cuyo objetivo es  facilitar y automatizar el proceso degeneración de los mencionados flujos. La aplicación presenta una interfaz gráfica y considera los casos en los que los flujos incluyenno solo el audio y el video de uno o varios programas, sino también el código y los medios necesarios para transmitir aplicaciones interactivas que debendifundirseen conjunto con dicha programación. Estos flujos también deben  integrar  las tablas  que permiten al decodificador ensamblar y sincronizar el audio y el  video de cada programa y recuperar el  código y  los medios de una  aplicación. Se presentan también los resultados de emplear el Generador de Flujoscon distintas configuraciones de número de programaciones,  resolución  y  aplicaciones interactivas. Los flujos luego son probados en un sistema con receptores digitales reales.

Abstract: This article starts by presentinga brief summary about the structure of singletransport packetstreamsand the way these streamsare generated by OpenCaster. Then an application that allows a  user to visually interact with OpenCaster is presented. This application  makes  it  extremely easy to automatically generate the streams. The application considers scenarios in which the streams must carry not only the audio and video of one or several TV programs  but  also  the  code  and  media  for  transmitting  interactive  applications  that  need  to  be  broadcasted  along with the regular programming. These streams must also include all of the tables that make it possible to reassembly and synchronize the audio and video of each program and collect the code and media of an application. The results of  using  this new application are presented considering a variety of configurations to generate the streams, with different number of programs, resolution and  interactive  applications. These streams are later tested on actual digital receptors.

This paper analyzes the reasons for the global popularity of the Korean boy band BTS that has been at the center of the growing popularity of Korean pop music or K-pop. To address this issue more comprehensively, this paper utilizes a framework derived from a business approach which has been so far little attempted. In contrast from existing studies that focus on fandom and its activities, this paper argues that instead of egocentric strategies, sophisticated consumer-oriented strategies by utilizing internationalization and digitization are the key to its global popularity, which have helped BTS and their managing company Big Hit Entertainment to overcome all the disadvantages they faced before while reinforcing exiting advantages and creating new ones. By doing so, BTS has gained their global success and become Korea’s top boy band.

This study examines the identity of two generations from the perspective of popular music through the commonalities of two musicians, BTS and the Beatles. This study looked into the historical, cultural and economic backgrounds of the birth of two generations, and in relation to the changing process of the production and consumption of popular music of that era. Based on Karl Mannheim's theory of generation, the generational analysis of the generational aspect in this social development are carried out through the concept of ‘generation location’, ‘actual generation’ and ‘generation unit’. Question that may arise: 'Is the BTS the Beatles of our generation?', which implicates 'BTS and the Beatles are incorporating the spirit of the times'. Through the consideration of the implication and the identity comparison of two musicians, a generational analysis and conclusion are drawn.

The  COVID-19  pandemic  has  negatively  affected  societies  not  just  through  the  threat  it  poses  to  human  existence  but  also  the  sudden  and  seemingly lasting changes it has brought to people’s lives. With restrictions imposed  on  human  movement  and  social  interactions,  the  resulting  loneliness,  isolation,  and  lack  of  agency  has  sustained  negative  impacts  on  mental health. On the other hand, the alternate resulting shift to digital forms of  consumption  and  social  relations  also  engendered  new  forms  of  coping  with  the  pandemic,  mainly  through  increased  exposure  to  digital  media  and  online  social  communities,  including  membership  and  participation  in  fandoms.  Integrating  Castell’s  network  society  theory  and  Jenkin’s  theory  on participatory culture, this study considered the BTS ARMY fandom as an empowered community of fans who perform novel ways of coping through participatory agency and maintaining digital networks of social relations. This  paper  is  a  mixed  method  exploratory  study  on  the  influence of  the  BTS  Fandom  on  the  mental  health  of  female  Filipino  fans  (N  =  104,  Mage=22.94, SDage = 4.85)  during the time of pandemic. The Fandom Identity Scale  constructed  by  Vinney,  et  al.  in  2019  and  the  BBC  Subjective  Well-Being  Scale  developed  and  updated  by  Pontin,  et  al.  in  2013  were  used  to  evaluate the level of identification, participation, and well-being of official, unofficial,  and  non-affiliated  female  Filipino  fans  of  BTS  online,  and supplemented  by  an  open-ended  qualitative  questionnaire  to  provide  a  qualitative  contextualization  of  their  responses,  particularly  in  relation  to  COVID-19. The results showed that fans belonging to official and unofficial fan clubs registered higher identification, participation, and well-being scores compared to non-affiliated fans, though statistical correlations showed no significant effects of fandom identification and participation to well-being. Qualitative data suggests that the identification and  participation of female Filipino  fans  in  the  BTS  ARMY  fandom  contributed  significantly  in  their coping during the COVID-19 pandemic.

Good storytelling is at the heart of BTS as both a brand and a band. Modern brands know that story is no longer an option, but a requirement for keeping audiences engaged. With their consistent and creative reliance on story, BTS has transformed the K-Pop landscape, providing a framework for others in the industry that relies on open-structure narratives, sincerity, and active audience engagement, among other components. To investigate BTS’s storytelling strategies, this article breaks down how stories permeate BTS’s content, from music and videos to the Bangtan Universe and documentary films. The importance of transmedia storytelling and participatory audiences is also examined. The analysis resulted in a proposed framework that suggests the following components: 1) story as central to the brand; 2) authenticity and sincerity; 3) idol participation in creative output; 4) use of transmedia storytelling and story gaps; 5) intertextuality and cohesion; 6) opportunities for audience engagement; and 7) dedicated creative staff. Utilizing this framework can help K-Pop groups elevate their brands, better use storytelling elements, and gain larger, more engaged audiences.

This paper analyzes the reasons for the global popularity of the Korean boy band BTS that has been at the center of the growing popularity of Korean pop music or K-pop. To address this issue more comprehensively, this paper utilizes a framework derived from a business approach which has been so far little attempted. In contrast from existing studies that focus on fandom and its activities, this paper argues that instead of egocentric strategies, sophisticated consumer-oriented strategies by utilizing internationalization and digitization are the key to its global popularity, which have helped BTS and their managing company Big Hit Entertainment to overcome all the disadvantages they faced before while reinforcing exiting advantages and creating new ones. By doing so, BTS has gained their global success and become Korea's top boy band.

This close reading of Heartbeat, a 2019 music video by South Korean pop group, BTS, shows how intermedial musical performance generates narrative and meaning through depictions of bodies and movement. The article begins by highlighting the delivery of Heartbeat’s audiovisual narrative through a hybrid set of formal devices linking the music video with cinematic language. The article makes specific intercultural and intermedial links between Heartbeat and self-reflexive classical Hollywood musicals that highlight spontaneity, integration and the audience. Further discussion of Heartbeat focuses on the music video’s intimate address to viewers through song and writing, highlighting a key moment where on-screen text is made to move in a manner resembling dancing bodies – while English-language lyrics are sung in ways that permit multiple meanings. Elements within this music video – such as the use of bodies to bear musical meaning – ultimately connect with larger intermedial contexts and spin-off products, demonstrating that intermediality plays across several levels from the aesthetic to the commercial.`

While the influence of Western, Anglophone popular culture has continued in the global cultural market, the Korean cultural industry has substantially developed and globally exported its various cultural products, such as television programs, pop music, video games and films. The global circulation of Korean popular culture is known as the Korean wave, or Hallyu. Through vivid ethnographic accounts, this book explores the evolution of Hallyu as a transnational process and addresses two distinctive aspects of the recent Hallyu phenomenon – digital technology integration and global reach. Drawing on extensive field studies conducted in the US, Canada, Chile, Spain and Germany, this book comprehensively and comparatively examines the translational flows of Hallyu.

This chapter offers an insight into medial solutions with the help of which BTS stabilizes its position in the musical hierarchy. All of them namely, analyzed from both medial and performative perspective, take part in motivating an emotional reaction among the recipients, contributing to their continuous support for the group. Examining the creative and economic outcomes of such communicative interdependence crystallized during the live show, the chapter discusses their significance for K-pop and the music industry in general. The main difference between a concert and a show, especially visible in the case of the BTS' Speak Yourself Tour, lies precisely in this gradual overshadowing of the actual musical content by the emotionally and aesthetically supported engagement of the audience. The performative strategies, such as the realization of Emotional Memory Impact,  are mandatory to complete the encounter, using extra-musical elements to stabilize the intermedially created image.

In my paper, I want to describe a form of life can starting from its traits of vestimentary identification. This kind of analysis can study the figurative and plastic dimension of  the total look, where invariant and recurring garments and accessories become semiotic conditions necessary to produce signification (FLOCH, 1995, p. 124). I will try to substantiate my  hypothesis with a semiotic analysis of clothes and accessories worn by BTS, a South Korean  boyband because they subsume fashion, semiosphere, forms of life, identity, and otherness.
BTS first established a relationship of interaction and hierarchical integration with the form  of life of idols, shaping its characterizing traits to re-semantize and innovate it according to  their language of identity

Numa época em que o ato de ouvir música está presente na vida
quotidiana das pessoas, o K-Pop tem vindo a demonstrar ser um estilo
musical único, repleto de artistas talentosos e produtos visuais
excecionais, cada vez mais consumidos por ouvintes de todo o mundo.
Esta investigação tem como objetivo demonstrar o poder que a
visualidade tem na indústria do K-Pop, como através desse poder os
seus produtos conseguem captar a atenção dos consumidores e como
estes se diferem dos produtos audiovisuais de origem ocidental,
focalizando a investigação nos vídeos musicais, consolidada através da
análise da evolução estética dos produtos audiovisuais do grupo BTS.
Esta dissertação foi criada com o objetivo de expor este estilo musical
e os seus conteúdos visuais, principalmente no território português, uma
vez que se encontra a expandir-se rapidamente, principalmente nos
últimos três anos. Para além disso, o K-Pop é, ainda, uma temática
pouco explorada e desenvolvida a níveis académicos.
A metodologia utilizada baseou-se em pesquisas bibliográficas sobre os
aspetos sociais, culturais e históricos da Coreia do Sul, assim como da
indústria musical, com foco na história e importância dos vídeos
musicais. Para desvendar a evolução e as características dos vídeos de
K-Pop, foram analisados os vídeos musicais mais visualizados de cada
ano, entre 2009-2019, conectando-os através das suas características
em comum. Para o caso de estudo, foi realizada uma investigação
histórica do grupo BTS, da sua evolução e dos seus álbuns musicais,
assim como a observação dos seus vídeos musicais de modo a extrair
informações, detalhes e simbologias, expostas numa linha temporal e
progressiva, entre 2013 e 2020.
Conclui-se que os vídeos musicais são um dos produtos mais
importantes da indústria musical, unindo o som com a imagem de um
modo, agora, inseparável. Através da sua visualidade, os vídeos
musicais de K-Pop mostram-se ser um dos produtos mais célebres
deste estilo, apresentando várias características, escolhas visuais e
conceitos únicos que tornam o K-Pop num estilo tão diferente, quando
comparado com outros estilos musicais. Utilizando como exemplo o
grupo BTS, que através da análise dos seus produtos audiovisuais, foi
chegada à conclusão que estes dispõem de um nível elevado de
cinematografia e que apresentam uma evolução coesa nos seus vídeos
musicais, cujo são altamente visuais e conceptuais, com inúmeras
narrativas interligadas entre si. Uma vez que foram explorados os seus
produtos entre os anos 2013-2020, foi possível observar uma evolução,
não só musical, mas visual, conseguindo desenvolver o seu estilo à
medida que apresentavam novas eras e conceitos. Esta análise não só
ajudou a conhecer o grupo e os seus trabalhos, como ajudou a entender
o porquê de o grupo ser tão célebre dentro da indústria musical nos dias
de hoje.

My latest book was released in July 2021 from Routledge.

From the description:

This book suggests that escapism – the desire to leave one’s physical or emotional circumstances for an ideal alternative – is a way to understand the social conflicts that structure our world. Considering this phenomenon across psychology, labour and cultural studies, the author engages with critical theorists such as Lukács, Fromm and Marcuse to examine how escapism appears in our minds, workplaces and utopian imaginaries from fiction to music. In this study, escapism emerges as a constitutive feature of the late capitalist lifeworld – a feature that must be understood in order to create social change.

Defining escapism as a new field of study, Late Escapism and Contemporary Neoliberalism: Alienation, Work and Utopia suggests that the phenomenon has much to teach us about contemporary consciousness and how we resist and reshape the edicts of neoliberalism. As such, this book will appeal to scholars of cultural and critical theory, social movements and political sociology.

This powerpoint for educational use, takes a historical perspective to put the worldwide commercial success and intense fan behavior associated with the K-Pop boy band “BTS” into a meaningful context.  It begins by examining and deconstructing the achievements, status and fan base of two British and two American boy bands who achieved a wide international audience in the pre-Internet and pre-social media era. This analysis is then used to assess and explain the popularity of the Korean group BTS, which has recently achieved an unprecedented degree of cross cultural and transnational attention. Particular attention will be paid to the activities and behavior of the largely female online fan communities in countries outside Asia

PT. Dayamitra Telekomunikasi (Mitratel) adalah perusahaan yang bergerak di bidang penyedia jasa infrastruktur Telekomunikasi. Sebagai salah satu penyedia infrastuktur telekomunikasi (tower, Inbulding System, Microcell dll) terkemukan di Indonesia, Mitratel banyak membangun infrastruktur telekomukasi yang tersebar di seluruh wilayah Indonesia. Pelaksanaan proyek pembangunan tower dan infrastuktur ini melibatkan seluruh unit di Mitratel baik di kantor pusat, area, regional, dan juga Mitra Kerja pelaksana. Kegiatan proyek yang melibatkan banyak pihak tersebut sudah tentu memerlukan koordinasi dan komunikasi yang cukup kompleks. Oleh karena itu diperlukan sistem informasi yang dapat mengintegrasikan seluruh aktifitas proyek tersebut dan dapat dimonitor secara online oleh semua unit yang terlibat.

Kata kunci : Pembangunan tower, Sistem Informasi Manajemen, Manajemen Proyek

As novas tecnologias de informação e comunicação vêm mudando a maneira de como as pessoas interagem com a sociedade. A conectividade também possibilita que comunidades possam se engajar, criando seus próprios espaços e então um sentimento de pertencimento, no qual desconhecidos se unem por um interesse comum. A indústria da música pop coreana se beneficia diretamente deste cenário para gerar conteúdo, estreitar os laços com o consumidor final e reverter em vendas. Sendo assim, este artigo tem como objetivo analisar a comunicação do grupo de k-pop BTS com seus fãs na internet, principalmente nas mídias sociais, e como essa relação influencia no comportamento digital e de consumo do seu público. A metodologia utilizada será de pesquisa qualitativa, já que a proposta é compreender e fazer uma análise do mundo real e dos indivíduos por meio da observação e do estudo de registros.

Although many attempt to explain BTS’ surge in global popularity by pointing to their social media use, grassroots fandom, and performance skill, there is a clear lack of focus on the importance of the storytelling found in BTS’ work, as well as the underlying influences from literature and psychology. If we are to truly understand BTS and their significance within pop culture and the global music scene, it is necessary to examine BTS’ narrative and its effects more deeply.

Throughout BTS’ conceptual journey from 2013 to the present, trials and anxieties are brought to the surface, contemplated, and resolved. Within their lyrics, music videos, and fictional Bangtan Universe, universal themes of wandering youth, school, temptation, love, and self-development are amplified by related themes seen in works of literature and psychology. These influences help BTS tap into a form of bibliotherapy, a creative art therapy that uses literature to promote healing. A close examination of BTS’ work reveals how BTS engages its fanbase with a cohesive cross-platform narrative that effectively helps fans explore their own anxieties and learn to heal.

In my proposed presentation, I will interpret BTS’ conceptual narratives and themes within the context of works by Hermann Hesse, Carl Jung, and Erich Fromm. I will also apply the theory of bibliotherapy to explain how BTS’ narrative succeeds in helping fans cope with anxieties and pain. To illustrate impacts on the fandom, I will include data from a brief fandom survey.

*Note: This paper was presented at the 2020 BTS Conference in London. It is currently submitted for publication, so no file has been uploaded.

BTS' now-infamous speech at the United Nations implored the world to love themselves and "speak" themselves. This ethos of self-acceptance is reflected in a number of BTS albums, music videos, and interviews. It has undoubtedly become the (debated) K-pop group's theme as they establish themselves as household names worldwide, a stark contrast from their initial albums populated by clear misappropriation of black American music and culture.

This video poster focuses on Anglophone Twitter and how the "Speak Yourself," and by implication "Love Yourself," ethos has enabled a form of toxic positivity among a massively powerful and ever-present fandom, BTS' ARMY. ARMY utilize the philosophies of "Speak Yourself" to reveal intimate truths about themselves and cultivate self-acceptance, but also to harass other K-pop fans, journalists, "antis," or any labeled enemy of the fandom. Utilizing the "Speak Yourself" dogma in tandem with toxic behavior like harassment and doxxing, ARMY frequently employ doubletalk and contradictory responses to any mention of BTS by 'locals,' antis, or those that fail to honor the apparently explanatory creed that "BTS is 7."

This poster includes a survey of tweets, presented in video format, with analysis of how this rhetoric is impacting K-pop fandom fandom, journalism, and scholarship. By examining the rhetoric of one of the most visible fandoms active on Twitter, this video poster aims to stimulate thought about massively-networked fandoms and the consequences of platforms like Twitter.

As I appeared at last year's FSN NA as a keynote speaker discussing the summer of 2020, race, and K-pop's intersection with social activism, I noticed that many fan scholars had little concept of ARMY's fervent activities outside of rosy headlines. This video poster will, hopefully, inspire more nuanced conversation about the consequences of media attention to particular fandoms. In other words, the coverage from the summer of 2020 has further enabled ARMY to employ "Speak Yourself" dogma to numerous outcomes via Twitter, with many radiating a particular form of toxic positivity.

This close reading of Heartbeat, a 2019 music video by South Korean pop group, BTS, shows how intermedial musical performance generates narrative and meaning through depictions of bodies and movement. The article begins by highlighting the delivery of Heartbeat’s audiovisual narrative through a hybrid set of formal devices linking the music video with cinematic language. The article makes specific intercultural and intermedial links between Heartbeat and self-reflexive classical Hollywood musicals that highlight spontaneity, integration and the audience. Further discussion of Heartbeat focuses on the music video’s intimate address to viewers through song and writing, highlighting a key moment where on-screen text is made to move in a manner resembling dancing bodies – while English-language lyrics are sung in ways that permit multiple meanings. Elements within this music video – such as the use of bodies to bear musical meaning – ultimately connect with larger intermedial contexts and spin-off products, demonstrating that intermediality plays across several levels from the aesthetic to the commercial.`

An availability of blood is major issue in today’s life. In case of emergency needs, blood is a saver of all existing lives. The reason behind that is number of accidents as well as major diseases. The possibility of finding the required blood group in nearest blood bank is less. At that time patient may face severe problem. We are designing web based mobile android application to overcome this problem. The system keeps the track and record of the acceptor, donor, and the blood banks and also the application timely updates their information in the database. It also maintains the amount of each available blood groups, if the stock of a particular blood group is lower than the required amount then the system notifies the donor to donate blood. The system uses GPS to track the location of acceptor to find the availability of blood in nearest location of acceptor. The system uses Push Technology with security which provides authenticated and authorized features where private and confidential data can only be viewed by the authorized user. The system also modifies the record before receiving the blood and after donating the blood. The life at threat can be saved by this optimization technique.

The camouflage design of the BTS tower is interesting to discuss as it allows for the development of a touch of design that is aesthetically valued and relatively unified in its environment. The role of the designer in this case becomes important because he has the knowledge, skills and insight to do it. A well designed camouflage tower, which meets the rules of the design process will produce a variety of designs that will elicit a positive perception of society. The method used in this research is explorative qualitative research method, which aims to identify the camouflage design of BTS towers that are positively perceived by the public. Data were collected by online survey method, observation and FGD. Research analysis using content analysis method and distribution analysis. Five criteria generated in this research are Friendly design, Proportional, Safe, Redesign, and thematic.

Keywords: monopole tower, camuflage

Since the US fans participation in the BLM campaign and 'sabotaging' of Trump's Tulsa rally, the K-pop fans community has made headlines on mainstream media as part of contemporary political discussion. A similar phenomenon is also encountered in Southeast Asia. One of the fastest-growing K-pop markets globally, where young people call themselves K-pop fans, has participated in various activism forms supporting humanitarian causes through donations, criticizing new laws, or protesting against the government. Indonesia and Thailand were chosen as case studies because K-pop fans in both countries have recently made headlines on national media and took over social media as a worldwide and domestic trending topic. With different levels of democracy, they also allow us to see the dynamics of fan activism in different localities. This paper grouped K-pop fans' political participation in Indonesia and Thailand as charitybased and politically driven. In both categories, youn...

oleh sistem re-use frekuensi akan mengakibatkan gangguan kualitas sistem radio seluler berupa drop call. Untuk mengetahui kualitas layanan dan interferensisi co-channel pada sistem radio seluler digunakan data performance Analisis.
Salah satu cara untuk meminimalisir interferensi co-channel dengan Optimalisasi C/I. Optimalisasi C/I berarti mengatur daya pancar kedua BTS yang saling interferensi untuk mendapatkan nilai C/I yang terbaik untuk mendapatkan C/I yang distandarkan. Nilai C/I yang distandarkan dalam sistem adalah 9 ≥ C/I Optimalisasi C/I antar BTS co-channel pada jaringan GSM900 PT. Indosat, Tbk yaitu site Mekarwangi sektor 1 dengan site Tambun sektor 3, dengan cara melakukan perubahan daya pancar cell/Tx Power BTS pada site Mekarwangi dari 40 dBm menjadi 36 dBm menghasilkan nilai C/I dari 6.687 dBm menjadi 10.687 dBm. Dengan diperoleh nilai C/I sebesar 10.687 dBm, Nilai yang diisyaratkan pada jaringan GSM900 PT. Indosat, Tbk sebesar C/I ≥ 9 dapat terpenuhi, sehingga Optimalisasi C/I untuk meminimalisir Interferensi Co-Channel tercapai guna peningkatan kualitas layanan. Peningkatan kualitas layanan.
Kata kunci: Interfrensi Co-Channel, BTS, Cell, Sistem Re-Use, Sistem Radio
ABSTRACT
Co-channel interference caused by frequency re-use system. Co-channel interference will result in impaired quality of mobile radio systems in the form of call drop. To determine the quality of service radio system used performance data analysis.
Parameters to maintain service quality standards enactment C / I on the radio system. The C / I as standardized in the system 9 ≥ C / I. In the calculation when the value of C / I <9 show that the cellular radio system interference occurs above the tolerance. One way to minimize co-channel interference with Optimizing C / I.
Optimizing C / I between co-channel base stations on the network GSM900 PT. Indosat, Tbk is a sector with Mekarwangi Site Site fat sector 3, in a way to change the transmit power cell / Tx Power mekarwangi BTS on site from 40 dBm to 36 dBm value C / I of 6687dBm to 10687dBm.
With the obtained value of C / I for 10 687 dBm, the implied value of the GSM900 network PT. Indosat, Tbk for the C / I ≥ 9 can be met, so Optimizing C / I to minimize co-channel interference is achieved in order to improve the quality of service.
Keywords: Interference Co-Channel, BTS, Cell, System Re-Use, System Radio

There have been a number of voices calling for the implementation of a tighter copyrights regime in this era of digitization that will help deter the copying of established works. Such an approach though is counterproductive. Although imitation is often considered as a negative practice in our time, throughout history it has been perceived very differently. This chapter focuses on the true role of imitation and reveals the real nature of the relationship between copying, creativity, and diversity. It argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. The findings of this chapter suggest that imitation within the copyrights regime should be carefully reconsidered and that maybe the core issue is about earnings, rather than cultural creativity or diversity.

Losses during transmission and high demand of high data rate by the end users have become the biggest challenges facing the telecommunication industries worldwide with Nigeria inclusive. Fiber optic cable as a channel of communication has been adapted worldwide in solving these problems but there is a little limitation in the place of multimode fiber in long distance communication. This paper focuses on the effect of changes in distance on transmitted bandwidth on single mode and multimode fiber. Two cases were considered during this research; (a) with optical amplifier placed in between multimode fiber and (b) without optical amplifier in between multimode fiber. Readings were taken at various distances when specific bandwidth ranging from 50Mbps to 500Mbps was transmitted from the base station to the various distances and it was observed that there was no significant
changes in bandwidth received at specified distances (100, 200, 300, 400, 500 etc) m when using single mode fiber, there was a drastic reduction in bandwidth when it get to a distance of 300m when using multimode. When optical amplifier was placed in between the multimode fiber at some selected distances after 400m from the transmitting BTS, it was noticed that the drastic reduction in transmitted bandwidth was almost eliminated, thereby proven that multimode fiber can be use in long distance communication provided optical amplifiers are incorporated in between the distance to bust the signal strength.