Shortwave listening and everything radio including reviews, broadcasting, ham radio, field operation, DXing, maker kits, travel, emergency gear, events, and more
Many thanks to SWLing Post contributor, Derrick Yamaura, who reached out to Eton Corporation seeking a solution to sticky radio chassises. Derrick writes:
I phoned Eton Canada’s customer support number and reached a friendly lady who immediately responded with a solution as soon as I mentioned “sticky rubber”.
She stated that Eton officially recommends a product called “Purple Power Industrial Strength Cleaner/Degreaser” because it is water-based, non-toxic, biodegradable, non-abrasive, and contains no solvents.
This reader used Purple Power to clean his benchmark Eton E1.
It’s made by Aiken Chemical and can be found at auto supply shops (e.g. Autozone, NAPA, etc.), home improvement stores, and a few major retailers (such as Walmart).
The method involves dampening a cloth or microfibre towel with the cleaner, then wiping the radio in a single direction with gentle pressure. Don’t rub back and forth or swirl in circles. It won’t remove logos, lettering, or numbers.
The agent stated that only one cleaning is necessary. The rubber coating will remain non-tacky, permanently, after using Purple Power.
Having said all that, I haven’t personally tested it. You’ll might recall that I had already cleaned my radios with oven cleaner.
Also, Purple Power is hard to find in Canada. I do have other degreasers in my workshop; some of them are even purple-coloured (e.g. Zep Commercial Purple Cleaner and Castrol SuperClean), but they’re highly corrosive and toxic, so I’m not keen on trying those on my
radios.
Therefore, if one of your other readers already has a jug of Purple Power handy, maybe they can test it out and report back to us.
My Grundig G6 desperately needs cleaning–its chassis is incredibly sticky at the moment. I also know I have some Purple Power at home, so when I return from travels I’ll put it to work on the G6!
From the Isle of Music, September 2-8:
Our special guest this week is Roxana Iglesias, leader of Frasis, a very intriguing Fusion group in Cuba, plus some electroacoustic experimental music by Juan Blanco, one of Cuba’s pioneers in that style.
The transmissions take place:
1. For Eastern Europe but audible well beyond the target area in most of the Eastern Hemisphere (including parts of East Asia and Oceania) with 100Kw, Sunday 1500-1600 UTC on SpaceLine, 9400 KHz, from Kostinbrod, Bulgaria (1800-1900 MSK)
2. For the Americas and parts of Europe, Tuesday 0000-0100 UTC on WBCQ, 7490 KHz from Monticello, ME, USA (Monday 8-9PM EST in the US). This has been audible in parts of NW, Central and Southern Europe with an excellent skip to Italy recently.
3 & 4. For Europe and sometimes beyond, Tuesday 1900-2000 UTC and Saturday 1200-1300 UTC on Channel 292, 6070 KHz from Rohrbach, Germany.
Also recommended: 1. Jetzt geht’s los! (Here We Go!), an excellent program of early German Jazz produced by Radio Ohne Nahmen, comes on right before FTIOM on Tuesdays from 1800-1900 UTC on Channel 292.
Uncle Bill’s Melting Pot, Sun, September 2 & Tuesday, September 4, 2018
Episode 78 presents modern music from Peru.
The broadcasts take place:
1. Sundays 2200-2230 UTC (6:00PM -6:30PM Eastern US) on
WBCQ The Planet 7490 KHz from the US to the Americas and parts of Europe
2. Tuesdays 2000-2030 UTC on Channel 292, 6070 KHz from Rohrbach, Germany for Europe. If current propagation conditions hold, the broadcast should reach from Iceland to Western Russia, Scandinavia down to North Africa and the Middle East, AND a long bounce to parts of New Zealand.
Also recommended: Marion’s Attic, a unique program produced and hosted by Marion Webster featuring early 20th Century records, Edison cylinders etc played on the original equipment, comes on immediately before UBMP on Sundays from 2100-2200 UTC on WBCQ 7490 Khz.
Late last year, we learned that Sangean was planning to introduce a small portable HD radio to their product line: the Sangean HDR-14. Readers were excited about this release––indeed, I’ve received more inquiries and comments from readers about this radio than about any other HD radio.
While there have been numerous portable FM HD radios on the market over the years, there have been very few compact HD portables that can also pull AM HD signals from the ether. Shortly after Sangean made their announcement that the HDR-14 was forthcoming, I contacted them and requested a review unit. They sent me a review sample from the first production run in May.
Due to my exceptionally busy schedule this summer, it’s taken me longer than I’d like to be able to write up a complete review. On the plus side, while I’ve not had a chance to sit down and write, I have had time to listen; thus I’ve had more on-the-air time with the HDR-14, with the result that my review is built on nearly three months of use.
Initial impressions
Size comparison: Sangean HDR-14 (left) and the C. Crane CC Skywave SSB (right)
The HDR-14 has a practical AM/FM portable radio design: the front panel features a backlit display, speaker grill, power button, memory preset buttons and a few other buttons to control essential functions like tuning, HD mode/channel selection, band, and information display toggle.
Like most similar Sangean radios, the chassis is a hard gloss plastic finish, while the front panel is mostly matte. The buttons are raised and have a pleasing tactile response.
On the left side of the radio you’ll find a coaxial power port (5VDC with a positive tip), volume wheel and headphones jack. I do wish Sangean had used a standard micro USB port, but their alternate choice might be be a result of the fact that USB power supplies are so RF noisy…? This is, however, mere speculation on my part.
On the right side, the only feature is one mechanical key lock switch––a bonus for me, as I prefer mechanical key locks over push buttons.
On the back of the radio you’ll find the usual silk-screened product specifications and model information. You’ll also find the large battery compartment cover which easily slides open to reveal positions for three AA cells.
The telescopic antenna is sturdy and about twenty-five inches in length, fantastic for FM radio reception.
One unique feature of the HDR-14 is that it doesn’t have a tilt-out stand on the back, rather a foot that swings out from the bottom/base of the radio. The foot gives the HDR-14 excellent stability while standing up, say, on a night stand next to the bed. Brilliant addition, Sangean!
Features and specifications
For such a compact portable, the HDR-14 sports a compliment of features:
HD Radio digital and analog AM / FM-Stereo reception
40 Memory Presets (20 FM, 20 AM)
PAD (Program Associated Data) Service
Support for Emergency Alerts Function\
Automatic Multicast Re-Configuration
Real Time Clock and Date with Alarm and Sleep Function
2 Alarm Timer by Radio, Buzzer
HWS (Humane Wake System) Buzzer and Radio
Snooze Function
Information Display for Channel Frequency, Call Sign, Radio Text, Audio Mode, Service
Mode, Signal Quality and Clock Time
Easy-to-Read LCD Display with Backlight
Low Battery LED Indicator
I/O Jacks: DC In, Headphone and HD / FM Rod Antenna
The clock and alarm features make the HDR-14 ideal for travel. Sangean’s “Human Wake System” is one of the best wake up alarm systems I’ve ever used on a radio: the buzzer alarm sound will slowly increase in volume for 1 minute, then stop for one minute of silence, and repeat up to one hour. Of course, this will wake most of us on the first go. If not, it’s patiently persistent, but a gentle way to wake: I like this.
The internal speaker is well balanced though it lacks any notes of bass. Still, music is quite pleasing, and the spoken word sounds brilliant and clear. Note that my expectations for audio fidelity are always fairly low from radios in this size class (although the Sangean WR-7 showed me that compact radios are capable of amazing fidelity).
Operation
Tuning the radio and storing frequencies to memory are each straightforward and simple.
Keep in mind, however, that the Sangean HDR-14 can receive both AM and FM radio in analog and HD. On either band, if you tune to an analog station with accompanying HD channels that can be received, the HD Radio logo will flash on the display, indicating that the signal is blending from analog to digital. Once the radio locks onto the HD signal, the HD Radio logo on the display will cease flashing and appear steady.
Saving a station to a memory is simple: 1) tune to a frequency, use the page button to select the desired memory page of five presets; 2) press and hold the button where you would like to store the frequency, and when you hear a beep, the station has been stored. If you chose, for example, the third page and first memory position, “31” (indicating “page 3” and “memory 1,” respectively) will appear on the top line of the display. After entering your presets, you can then recall a station by selecting a page and simply pressing the preset.
The HDR-14 does have a useful “HD Seek” function that searches for HD signals automatically. In addition, there is an HD Auto Preset System that will scan the band for HD signals, then auto-store them in memory presets according to their signal strength. The first memory on the first page will be the strongest station received.
If the HDR-14 acquires an HD station that multicasts (and in my market, most do), the display will note “HD1,” “HD2,” or “HD3,” based on the number of multicast HD signals per broadcaster. You can flip through these with the tune up/down buttons once the display indicates multicast signals.
The HDR-14 also features an alpha-numeric RDS system which makes identifying the station and even their programming/music quite easy. I find that the RDS decode is quite good: it works on even marginal FM signals.
Performance
The last Sangean HD radio I reviewed was the HDR-16, and I was impressed by its performance. As you can imagine, my hope was that the HDR-14 would pack the HDR-16’s performance in a smaller package…So, did it?
Let’s just say it comes quite close.
The HDR-16’s analog AM broadcast band performance is, overall, better than that of the HDR-14. The HDR-14 isn’t poor, but its noise level is slightly higher than the HDR-16’s. I can’t say I’m disappointed with the HDR-14’s analog AM performance, however; it’s just what one would expect. I do wish it had impressed me.
I’ve only received one AM HD signal with the HDR-14, so I can’t comment on the AM HD performance other than to say I was impressed with the steady HD lock. I listened to WWFD in Germantown, MD: I could receive the station both day and even at night when power output was decreased dramatically. I find that AM HD sort of boggles the mind; it’s odd listening to a clear, static-free signal on the AM dial.
I’ve had several SWLing Post readers tell me they were impressed with the HDR-14’s ability to acquire AM HD signals. One reader added that it’s the best he’s ever used…wow! As I travel this year, I hope to snag a few more AM HD signals myself.
The HDR-14 is a very sensitive FM analog receiver. I find that I can receive all of my benchmark local and distant analog FM stations. The HDR-14 seems to be every bit as good as the HDR-16 in terms of sensitivity.
One caveat is that when I tune to an FM analog signal which happens to be adjacent to a strong FM station, sometimes the strong adjacent station bleeds into the audio. FM selectivity isn’t as good as the HDR-16.
In terms of FM HD performance, you might recall that in my review of the Sangean HDR-16, I mentioned that one of my benchmark distant HD FM stations is WFAE HD2. WFAE’s transmitter is just over one hundred miles from my home shack, and I’m well outside even the the fringe reception area. I’m pleased to note that, on more than one occasion, from my porch, I’ve gotten a reliable HD lock on WFAE with the HDR-14. I’m convinced that when the leaves fall off the trees this fall (they do attenuate signals) reception will be fairly near to reliable.
Listening to the HDR-14 from a hospital room.
While waiting for a block of time to pen this review, I’ve spent a lot of time tuning to FM HD signals in a least five different urban and regional markets in two countries. And I can say I’m very impressed with reception; the HDR-14 seems to snag every available HD signal.
Summary
Every radio has its pros and cons. When I begin a review of a radio, I take notes from the very beginning so that I don’t forget some of my initial impressions. Here is the list I formed over the time I’ve spent evaluating the HDR-14.
Pros:
Excellent overall FM Analog and HD performance
Excellent AM HD reception (a stand-out for pocket sized HD receivers)
40 memory presets
Built-in speaker has first-rate fidelity for spoken word and music (see con)
Uses standard AA cells
Excellent build quality
Gentle but persistent alarm
Useful swing out stand for bedside listening and alarm usage
Compact form factor, ideal for travel
Cons:
AM analog performance is acceptable but not for weak-signal work
FM Analog selectivity is mediocre, some strong adjacent station bleed-through
Built-in speaker lacks bass response, so not optimal for all music listening (see pro)
Conclusion
While I have mixed feelings about digital radio in general––but especially In-band on-channel (IBOC) HD radio––I do love exploring all that over-the-air radio has to offer. Like it or not, HD radio is a part of that landscape for the foreseeable future.
HD Radio has opened up a few alternative music stations that otherwise I’d never have discovered in my local market. In addition, I find that NPR and public radio stations often multicast commercial-free talk, jazz, and classical music, which makes HD Radio a worthy addition at home and while I travel. In large urban markets, HD Radio certainly increases the number of available commercial options sometimes by a factor of two or possibly more.
If you like chasing AM and FM HD signals, you’ll be very pleased with the HDR-14. It’s first rate, and I recommend it.
The Sangean HDR-14 RDS display (Photo: Thomas)
I’ll close by adding that I continue to be impressed with Sangean as a company. They’ve always been one of the quality leaders in the portable radio marketplace, and still make products with the radio enthusiast in mind––something of a rarity these days. I always look forward to seeing what they’ll come up with next!
The Sangean HDR-14 can be purchased at a number of retailers including:
Many thanks to SWLing Post contributor, Dan Robinson, who shares the following recordings and writes:
With the news over the past few years, and especially over the last few weeks, of the rapid decline of Venezuela, it’s interesting to recall that there was a day when that country was a powerhouse on the shortwave band, with numerous private radio stations that SWL’s around the world could hear in the 90, 60, 49, 31, and 19 meter bands.
There was also a brief attempt to put Venezuela on the map as an international broadcaster, with Radio Nacional de Venezuela which was audible at good signal levels.
Our thanks to Dan for this 45 minute recording, found in Dan’s archives of recordings, from 2004 when Radio Nacional de Venezuela was on the air in October 2004:
Dan, thank you so much for sharing these excellent off-air recordings! I will also add these to the Shortwave Radio Audio Archive. We look forward to any other recordings you might turn up in your archives.
I still receive a surprising amount of questions about mobile (car/in-dash) shortwave receivers. We have a dedicated category to all things mobile shortwave but it is certainly a radio category with comparatively few options.
Effective immediately, the Broadcasting Board of Governors (BBG), an independent U.S. government agency that employs thousands of talented journalists, storytellers, and media professionals, is now the U.S. Agency for Global Media (USAGM).
The U.S. Agency for Global Media is a modern media organization, operating far beyond the traditional broadcast mediums of television and radio to include digital and mobile platforms. The term “broadcasting” does not accurately describe what we do. The new name reflects our modernization and forward momentum while honoring our enduring mission to inform, engage and connect people around the world in support of freedom and democracy.
We recognize the overdue need to communicate the evolving, global scope of our work as well as our renewed, urgent focus on the agency’s global priorities, which reflect U.S. national security and public diplomacy interests. USAGM is an independent federal agency that provides accurate, professional, and objective news and information around-the-globe in a time of shifting politics, challenging media landscapes, and weaponized information. Our identity and name will now address these realities.
The decision to change our name was a result of thorough research and extensive consultation with numerous internal and external stakeholders, including the BBG Board of Governors, agency staff and leadership at all levels, the five networks, Congress, the Administration, and interagency colleagues.
As with the BBG, the U.S. Agency for Global Media encompasses five networks: the Voice of America (VOA), Radio Free Europe/Radio Liberty (RFE/RL), the Office of Cuba Broadcasting (Television and Radio Martí), Radio Free Asia (RFA), and the Middle East Broadcasting Networks (MBN). These networks collectively reach an unduplicated weekly audience of 278 million people in 59 languages and in more than 100 countries. Insulated by a firewall from political influence, these networks will continue to deliver truth and professional journalism to people living in some of the world’s most closed societies.
Now more than ever, people around the world need access to the truth. USAGM continues to tell the truth, and illuminate the world like no other news organization in the world.
The times have demanded that I kick out a slightly updated version of “At the Tone”, as well as a humble request to your readership. I’ve also shared a long WWVH recording with you for the Archive by special arrangement.
As usual, [At the Tone] is still available in the same old place:
The good news is that anyone who purchased it previously can simply re-download the album in their chosen format from their purchase history page on Bandcamp. They will be instantly treated to the new version with all the additional tracks and liner notes.
The changes aren’t major, but rather in the “nice to have” category:
There’s a new second recording of the 1972 WWV station ID, postdating the big format change in 1971.
I’ve replaced the very short WWVH 1990 broadcast sample with a longer recording which I finally got around to cleaning up from the box of reels and cassettes sent to me by the station in 2015. I don’t know the exact date, because it came on an undated handwritten cassette labeled “JB on Old Audichron TCG”, but the broadcast format and announcement indicate it’s from the 1980s sometime up until the digital voice replacement in 1991. I attach a scan of the cassette itself.
I’ve done a better job cleaning up the (also WWVH-sourced) 1992 station ID recording from the original master cassette, so I’ve swapped out that track, although it’s otherwise identical in content.
The tape was in pretty bad shape when I received it, so while I’ve done the best I can to bring it up to par, there are some audibly wonky things going on from time to time.
Lastly, since WWV and WWVH are so much on people’s minds right now, I’m putting out one more call for recordings.
In particular, I don’t have good quality versions of the terrible 1991-era digital voices — I’d love to have longer or better tapes of those, especially if they include station IDs.
I also lost my recording of the emergency system test announcement in October 2010, not to be confused with the tests conducted in July of that same year!
Beyond those, though, I’d love to hear of any other recordings folks have dug up recently. There’s been some great stuff shared to the Archive already, but I’m always on the hunt for more to add to “At the Tone.” Contributors will be thanked in the liner notes and will be offered unlimited downloads of the set as they see fit to distribute. And if people have really special WWV recordings which they think might be locked away on on an obsolete or unplayable format, they should also get in touch – WWVH themselves entrusted me with transferring their own archival recordings, so I have some good credit in that department.
I can also vouch for Myke as a trusted custodian of any archived NIST time station recordings you may have.
If you would like to purchase and download At the Tone, please click here. As Myke mentioned, if you’ve already purchased At The Tone, simply login and download the updated version for free.
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