Cross one off the list of Google's friends.

Wireless audio-equipment manufacturers and producers of live events are up in arms against Google's efforts to open up a little-used patch of radio spectrum.

What's being contested is the so-called "white space" spectrum, the vacant bands between ultra-high frequency television channels. As U.S. broadcasters transition from analog to digital transmission in time to meet the February 2009 deadline imposed by the Federal Communications Commission, the unused spectrum has become a battleground, pitting not just audio professionals but organizations such as the National Football League, movie studios and Broadway producers against Google.

Google turned up the heat Monday by launching a "Free the Airwaves" campaign with a website and a petition lobbying the FCC to open up the spectrum.

"Remember that fuzzy static between channels on the old TVs?" says the site. "Today more than three-quarters of those radio airwaves, or 'white space' spectrum, are completely unused. This vast public resource could offer a revolution in wireless services of all kinds, including universal wireless Internet."

But for audio-equipment manufacturers and live sound producers, the fuzzy static is their meal ticket.

"We are worried the FCC will buckle and allow white space to be used by personal portable devices seeking wireless services," says Karl Winkler, director of business development for Lectrosonics, a manufacturer of wireless professional audio systems.

The result, say audio industry professionals, could be disastrous. Wireless audio equipment could face significant interference from personal devices searching for wireless connectivity on the spectrum already being used by high-end audio equipment.

"The radio frequency environment is going to become more crowded and more difficult to use," says Mike Torlone, director of marketing services at AKG Acoustics, a division of audio-equipment manufacturer Harman International.

That could potentially lead to loss of signal and interruptions in transmissions, and could force audio producers and production managers to change the way they do business, say experts.

"In that case the number of wireless microphones used will be reduced significantly and it cost big productions millions of dollars to redesign what they do," says Winkler.

The kinds of performances affected aren't limited to the next Justin Timberlake concert or a video shoot for American Idol. While Broadway productions and live shows at Las Vegas are expected to bear the brunt of the decision to open up white space, even local bands, fast-food restaurants, political rallies and church pastors delivering their Sunday sermons could find themselves facing more than a few glitches.

The efforts to unlock the white space has been one of the biggest issues facing the audio-equipment industry and the professionals involved in it, says Bill Evans, editor of trade publication Front of House.

"Everybody is not only angry and upset, they are very, very worried," he says. "We are talking about the livelihood of people here."

The move from analog to digital TV transmission allowed the Federal Communications Commission to reclaim a part of the spectrum, between 698 MHz to 806 MHz. Recently the FCC successfully auctioned the 700 MHz spectrum, a large chunk of which was won by Verizon Wireless.

While a portion of the remaining spectrum has been reserved for future public-safety networks, white space between TV channels remains, and that has caught the attention of companies such as Google, Motorola, Microsoft and Philips.

The tech giants are lobbying to use the white space to deploy new wireless technologies to deliver broadband internet services to portable devices.

That's where the hitch lies, says Chris Lyons, manager of technical and educational communications at Shure, a professional audio-equipment manufacturer.

Lyons says it's not the broadband access per se that will cause problems, but the way devices would have to search through the spectrum for free bands.

Audio professionals claim that prototypes of devices capable of spectrum-sensing have failed some key tests. The FCC is expected to release a final report about the results next month.

For its part, Google says it doesn't want devices that could interfere with wireless audio equipment in the market either.

"From the beginning we have said that no white space device should come to market unless the FCC signs off on it," says Dan Martin, a Google spokesman.

Industry professionals hope there will be a technological fix for the problem soon, one that could allow wireless audio equipment to co-exist with devices using wireless broadband on the same spectrum.

But till then, the FCC needs to stay strong, says FOH magazine's Evans. "We are not ready yet," he says. "We need more time."

Google says it has suggested the use of a geolocation database that would ensure no white space device could transmit without first getting the all-clear from the database. That would allow manufacturers to prevent the use of white space bands in the vicinity of a Vegas show, for instance.

Meanwhile, companies are preparing for the worst. For instance, Lectrosonics is now offering a wider range of frequencies for its wireless microphones.

Until last year, the company's wireless microphones spanned a range of 537 MHz to 768 MHz. Now that a part of that band has been auctioned off, the company has reworked its devices to operate in the 470 MHz to 691 MHz spectrum. It has also added another band, the 944 MHz to 952 MHz spectrum, to the mix.

Those changes haven’t been easy. Over the course of a year, Lectrosonics reallocated engineering resources and spent "several thousand dollars" getting each new product certified by the FCC.

"We have a limited amount of engineering resources and there are hard costs such as FCC licenses that we have had to get," says Winkler.

Smaller wireless audio-equipment manufacturers may not have a choice, says Winkler. "We think a number of manufacturers will be shaken out. Lower quality, lower power systems will have a difficult time."

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: Photo: Apple

Apple released its first iMac on Aug. 15, 1998. The cute, translucent blue, all-in-one PC was easily the most influential personal computer of the 1990s, heralding a return to simplicity and ease of use and briefly sparking an industrial design fad around clear, colored plastic.

It also marked the return of Steve Jobs as the visionary, design-obsessed leader that Apple desperately needed. Its strong sales reversed Apple's dire mid-1990s financial situation and enabled the company to get back on the road to relevance.

Over the years, the iMac's trendsetting arc has continued, with a total of four distinct models (and a close family member), some of which shipped in a handful of flavors.

Here's a look at the evolution of the iMac: past, present and future.

Left: The iMac wasn't Apple's first PC to feature a display and motherboard integrated into the same case; the original 1984 Macintosh (top center) shared a similar form factor. Apple resurrected its quiet, appliance-like qualities 14 years later.

The Power Mac G3 all-in-one (lower left) was the closest Apple ever came to a beige iMac. Released in early 1998, its specs were similar to the iMac's, but were available only to educational institutions.

The haughty design of the 20th Anniversary Macintosh (1997, lower right), foreshadowed later LCD-display iMacs. With a $7,499 price tag ($10,277 in today's money) and limited-edition status, it stood conceptually opposite the universally accessible iMac.

: Photo: Apple

Released in August 1998, the original "Bondi blue" iMac (its color reportedly named after the waters off an Australian beach) blew beige boxes out of the water. Among its novel technical features, the iMac ditched the then-ubiquitous floppy drive in favor of built-in home networking. It also introduced USB to the masses. But the G3-powered computer's greatest innovation lay in its eye-catching appearance. Apple designer Jonathan Ive took PC industrial design to new heights with the iMac's colorful teardrop case. Amazingly, much of the consumer design world came along for the ride.

: Photo: Apple

Bondi blue wasn't good enough. In 1999, Apple introduced five new color schemes for the iMac: blueberry, strawberry, lime, tangerine and grape.

The next time you see an appliance with a translucent plastic case, or available in multiple candy colors, you can thank Apple. Everything from vacuum cleaners to paper towel dispensers to George Foreman grills stole a page from the iMac's design playbook. Apple has since moved on to new design motifs, but the early iMac's influence still echoes in the industrial design world.

: Photo: Apple

Never content to stand still, Apple continued to cycle through various iMac colors until the end of the G3 line in 2003. Along the way, the iMac gained a few significant external changes. While the original iMac contained a fan, later iMacs were convection-cooled -- making them blessedly silent. Apple also replaced the iMac's tray-loading optical drive with a slot-loading model in 1999.

Seen here are two of Apple's most-whimsical designs (top), called "flower power" and "blue dalmatian" (2001). Stretched across, below, is a line of new colors released in 2000: indigo, ruby, sage, graphite and snow.

: Photo: Apple

After revolutionizing the PC design world with the original iMac, Apple struck again: this time with a PC that bore an uncanny resemblance to a table lamp. The company unveiled the radically novel iMac G4 in 2002. It featured a flat-panel LCD display mounted on an adjustable metal arm, which, in turn, connected to a sturdy base containing the computer's other components. Somehow, the design actually worked, though it was not without controversy.

Tiring of the multicolor iMac parade (by then widely imitated), Apple chose a clean, frosty white color scheme for this new PC. Through its lifetime, the iMac G4 was available in three different display sizes (seen here from left to right): 15-inch, 17-inch and 20-inch.

: Photo: Apple

The iMac G4's flat-panel display bumped the computer's price just beyond the reach of the educational market in which Apple traditionally flourished. Apple's solution was to place the iMac G4's guts into an all-in-one PC with a less-expensive CRT monitor. The result was the eMac ("e" for "education"), a critically acclaimed Mac released in 2002.

The eMac shipped in two slightly different cases: The original 2002 design (left), and a 2003-on version (right) with a milky-white appearance and white speaker grilles. Apple sold the eMac until 2006.

: Photo: Apple

With the long-awaited iMac G5 (2004), Apple turned back the clock to a time before swing-arms and released a monolithic flat-panel PC that mimicked the traditionally white iPod in appearance. It was, by far, Apple's most minimalist computer design to date, and it sold in two display sizes, 17-inch and 20-inch (bottom).

The iMac G5 later included a built-in iSight camera, although that model was indistinguishable from the one you'll see next.

: Photo: Apple

In early 2006, Steve Jobs dropped a bombshell: Apple would be migrating to Intel processors across its entire computer line. The switch was shocking enough without any major exterior design changes, so Apple stuck with what worked: a white enclosure nearly identical to the iMac G5 before it. And unlike the original iMac G5, these models contained built-in iSight cameras above the display.

The iMac Core Duo was available in three display sizes (bottom): 17-inch, 20-inch and the iMac's largest display yet, a monster 24-inch LCD.

: Photo: Apple

As 2007 rolled around, Mac fans speculated on what sort of wild new iMac design Apple would unveil next. Then Apple raised the curtain on the iPhone in June, which quickly stole the spotlight from any potential iMac upgrades.

In August 2007, Apple announced a new iMac design sporting an Intel Core 2 Duo processor, a thinner form factor, aluminum and glass construction, and a black and gray color scheme similar to that of the iPhone. It's currently the latest in the iMac line, and it's available only in 20-inch and 24-inch display sizes (bottom).

: Illustration: Nuno Teixeira

What does the future hold for the iMac? Frankly, no one knows but Apple. The company's notorious love of secrecy means that it's left to the imaginations of Apple fans to fill in the gaps. And fill the gaps they do -- many with photorealistic computer renderings of Mac concepts; new ones tend to proliferate just before Apple product announcements every year.

Seen here is a fanciful design dubbed the iView by its creator, Nuno Teixeira. It imagines an iMac with a large curved display that would envelop the user and eliminate the need for disjointed dual-display setups.

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Strawberry, tangerine, grape, lime, Bondi Blue -- no, we're not talking about Lifesavers, but rather the iMac's 1999 lineup of G3 computers. Sporting a 15-inch screen and 333MHz processor, the 40-pound boxes of colorful joy were more popular in school computer labs than people's homes.

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