There were always loads of low spec AF sig gens around in school labs or used in repair shops, but far fewer low distortion ones which would be suitable to use with a distortion analyser. You explanation assumes audio oscillators and the matching analyser were sold in equal numbers. I think vk6zgo was on the money in that most analysers were checking an external high quality source, transmissions of some sort.
My set is a 3-position TM500 frame with SG502 and AA501A; I have the strong impression that Tek sold it as a kit. If you're going to do anything more complicated than syndicate someone else's program (or look into the studio-transmitter link), you'll have to have a bidirectional audio connection, to make an interview or just do talkback to people on mobile relays.
We used (at
${WORK}-2) to have analog mobile remotes; the contribution direction a mono wideband FM transmitter-receiver pair just below 300MHz, and the foldback direction a mono narrowband transmitter-receiver pair at ~450MHz, initially bodged from old MTD analog car phones (the system that predated the also analog NMT which the nordic Telcos deployed in the 80s) and later replaced with FM mobile radios. (typically a Moto GM300 or equivalent.) The contribution direction was full program quality, 30-15000Hz and 70-80dB S/N. The foldback of course was typically 4KHz phone quality bandwidth.
Those got checked out in both directions to ensure level matching and quality.
Beyond that there of course also was analog "dry pairs" -- the last of which was in operation to around 2014, from the cathedral in Visby on the baltic island of Gotland, to the local radio station. The longer inter-studio links and the studio-transmitter links were digital ITU-T J.57 from 1996 or so, where one does a bit of shoehorning to fit a AES-3 stereo pair into a ITU-T G.703 E1 link. Those are in theory (and proven in practice) perfect if there are no bit errors, so the wiggly meter and the
went away in favour of a BER counter..
Now it is all RTP over IP, both bit-reduced codecs like OPUS, MPEG-2 and APT-X and sometimes, for classic music, linear PCM. The lower-bandwidth foldback channel option has been kept; it is mostly SIP signalled, and it is quite possible to set up an assymetric link where A->B is stereo PCM and B->A is A-Law ITU-T G.711 mono...