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Many thanks to SWLing Post contributor, TomL, who shares the following guest post:
Comb Stereo on Shortwave
by TomL
Comb Stereo is an old technique being implemented over shortwave by the main sound engineer (Daz) at Radio Northern Europe International (RNEI). It ONLY works on Comb Stereo broadcasts which currently are RNEI, This Is A Music Show (WRMI), and one of the KBC broadcasts. It works in real-time or for SDR recorded files, too. It does NOT need a special HD/DAB+ radio.
A number of pluses for Comb Stereo on shortwave compared to digital:
“The bandwidth is the same as mono – So the SNR should be about the same as mono.
Selective fading doesn’t affect the comb bands much, so the balance is largely unaffected by selective fading notches.
The Comb Stereo artifacts are much like typical music effects of echo, chorus, fast reverb or room reflections.”
An enhanced version is broadcast on WRMI for the RNEI time slot on Thursday morning (01:00 UTC) on 5850 kHz. It sounds very good and is not a pseudo-stereo like in my previous article, Music on Shortwave. For one thing, pseudo stereo is not real two-channel encoding and shifts vocals to one side, depending on which channels are chosen for high and low filters, which might get annoying after awhile. What seems amazing to me is that I have been able apply some minor noise reduction in Audacity and the Comb Stereo stays perfectly intact. It also still works after converting the WAV file to MP3 and sounds much like a regular FM broadcast. Furthermore, it does not require a special patented transmitter or receiver chip. It is compatible with regular mono transmitters.
If you want to try it, go to the RNEI web site; download and install the two files listed (VB Audio Cable and CombStereo Pedalboard x64):
It is slightly tricky to setup and use or you will not hear anything (most Windows systems default to 48000 Hz these days). Right-click on the lower-right taskbar Sounds settings. Make sure to setup Properties – Advanced in both the VB-Audio Virtual Cable (Playback and Recording) and your output speakers (Playback) to 24-bit 44100 Hz processing.
Now run the app Pedalboard BAT file which corresponds to the broadcast you recorded (in this example “Start Comb Stereo for WRMI.bat”). Set the Options – Audio Settings:
Since the VB-Audio Virtual Cable takes over your volume output, adjust the volume of your Speakers in Windows’ Sounds – Levels (or you can adjust the volume in the sound player you are using, too):
Play the mono WAV or MP3 file and you should be hearing stereo!
When you are done, close Pedalboard2 and then disable the VB-Audio Virtual Cable for Playback and Recording to get your Sounds back to normal:
I cannot demonstrate what it sounds like unless you have the VB-Audio Virtual Cable and the Comb Stereo app setup and working properly. Here are snippets from recent RNEI broadcasts captured by my noisy porch antenna:
Here are links to the artists’ YouTube videos for comparison:
What is nice is that I can create a space-saving MP3 mono file and this setup will decode the stereo when run from the computer (sounds really nice on a stereo system with a subwoofer). Unlike digital, this analog-friendly stereo seems mostly immune to fading, has a minimum of digital artifacts, and will not go silent and “drop out” like digital does for long, annoying periods of time. It is not perfect stereo but audio players with features like Stereo Widener or Windows Sonic for Headphones can overcome some limitations. Perhaps content providers should consider Comb Stereo for all their shortwave radio shows since it is perfectly compatible with mono AM transmissions!
Many thanks to SWLing Post contributor, TomL, who shares the following guest post:
Recording Music on Shortwave
by TomL
I recently became curious about the seasonal music updates posted by Alan Roe. It is a nicely detailed list of musical offerings to be heard. Kudos to Alan who has spent the time and effort to make it much easier to see at a glance what might be on the airwaves in an easy to read tabular format. I do not know of any other listing specifically for shortwave music in any publication or web site. I especially like the way it lists everything in UTC time since I might want to look for certain time slots to record. For some listings, I would need to go outdoors away from noise to listen to certain broadcasts. Current web page is here: https://swling.com/blog/resources/alan-roes-guide-to-music-on-shortwave/ .
As a side note, I have also found a lot of music embedded in the middle of broadcasts that are unannounced, unattributed, and not part of a regular feature program. That can be a treasure trove of local music you might not be able to find anywhere on the internet. It can be worth recording a spectrum of frequencies using the capabilities of the SDR and then quickly combing through the broadcasts at two-minute intervals (most songs are three minutes or longer). In maybe ten minutes, I will have at least identified all of the listenable music that may or may not be worth saving to a separate file.
Whether at home or outdoors, I have wanted to try to record shortwave broadcasts of music using my AirSpy HF+ but never getting around to it until now. There is a certain learning curve to dealing with music compared to just a news summary or editorial. I found myself wishing I could improve the fidelity of what I was hearing. From static crashes, bad power line noise, fading signals, and adjacent channel interference, it can be quite difficult to get the full appreciation from the musical impact.
I am starting to monitor the stronger shortwave stations like WRMI, Radio Romania International, Radio Nacional do Amazonia, etc. These type of stations can be received in a strong enough manner to get good quality recordings (at least according to shortwave listening experience). I am also finding that I appreciate much more than before the effort that these broadcasters put into creating content/commentary to go along with the music and little pieces of background info about the music or the artist. I have also noticed how exact some broadcasters are in timing the music into the limited time slots. For instance, Radio Romania International tries to offer one Contemporary piece of music exactly at 14 minutes, Traditional music exactly at 30 minutes, and a Folk tune exactly at 52 minutes into the program (whether in English, French, or Spanish), with nice fade-outs if the music goes too long.
One thing I ran into was to bother checking my hearing range. If someone has impaired hearing, it does not make much sense to create files that have a lot of sound out of one’s hearing range. I found this YouTube video (among a bunch of others) and listened to the frequency sweep using my Beyerdynamic DT-990 Pro headphones (audiophile/studio type headphones). My hearing is approximately from 29 Hz through 14400 Hz. Of course, the extremes fall off drastically, and as with most people, my hearing is most sensitive in the 2000 through 6000 Hz range.
Recording Workflow
Let’s assume that you already know how to record IQ files using your SDR software and can play them back (In the example below, I recorded the whole 49 meter band outputting a series of 1GB WAV files). Then, when playing back to record to individual files, I have to choose the filters and noise reduction I want. This gets subjective. If I do not want to keep huge numbers of Terabytes of WAV files over time, I will want to record to individual WAV files and then delete the much larger spectrum recording. You might tell me to just record to MP3 or WMA files because there is that option in the SDR software. We will get into that as we go along. For the time being, I do not want to keep buying Terabytes of hard drives to hold onto the original spectrum recordings.
After lots of trial and error, I came up with this workflow:
Record the meter band spectrum of interest using the SDR software.
Record individual snippets of each broadcast in that spectrum to new individual WAV files. This includes not lopping-off any announcer notes about the music I want to retain. I also have to choose the bandwidth filter and any noise reduction options in the software. Because I am not keeping Terabytes of info, this is a permanent decision.
Take an individual recording and apply more processing to it.
Convert the processed recording to any number of final output formats for further consumption and/or sharing.
Repeat steps 3 & 4 to take care of all the individual WAV files.
Step 4 allows me to create whatever file format I might need it to be: WAV, MP3, WMA, or even use it as background sound to a video if I so choose. There are also different ways to create some of these files with different quality settings depending on what is needed. I have chosen to listen to the individual WAV files for personal consumption but there may come a time to create high quality MP3 files and transfer those to a portable player I can take anywhere (or share with anyone).
The example below is a snippet from the latest Radio Northern Europe International broadcast on WRMI. WRMI has some decent equipment and I like how clean and wide is the bandwidth of many of the music programs. This is captured on the AirSpy HF+ using SDR Console V.3 with a user-defined 12kHz filter (11kHz also seemed somewhat similar sounding).
If you click on the ellipses, you can Copy an existing filter, type in a new title and change the bandwidth. I also played around with the different Windowing types and found that I like the Blackman-Harris (7) type best for music and the Hann type for smooth speech rendering (the Kaiser-Bessel types can also have more “punch” for voice recordings). Click OK TWICE to save the changes.
I also use Slow AGC and the SAM (Sync with both sidebands) to reduce the chance of distortion as the signal fades. I found that trying to use only one sideband while in Sync mode would make the reception open to loss of Sync with the musical notes warbling and varying all over the place!
Noise Reduction
The SDR Console software has a number of noise reduction choices. I tried NR1 through 4 and found the smoothest response to music to be NR1 with no more than 3 dB reduction. More than this seemed to muffle the musical notes, especially acoustic instruments and higher pitched voices. Part of the problem has to do with trying to preserve the crispness of the articulation of the sound and combating shortwave noise at the same time. At this time, I have chosen NOT to use any NR mode. More about noise reduction below.
Generic MP3 sounds really bland to my ears, so creating higher quality files will be important to me. I have been using Audacity which can apply processing and special effects to WAV files and export to any number of file formats. WAV files are a wonderful thing. It is a “lossless” file format which means that every single “bit” of computer input is captured and preserved in the file depending on the resolution of the recording device. This allows one to create any number of those “lossy” output formats or even another WAV file with special effects added. You can get it here:
One special effect is listed as “Noise Reduction”. I literally stumbled upon it while reading something else about Audacity (manual link). Here is how I use it for a shortwave broadcast. Open the original spectrum recording (in this example the 49m band). Tune about 25kHz away from the broadcast that was just recorded. Remember, my hearing extends at least to 14.4k plus there is still the pesky issue of sideband splatter of bandwidth filters. The old time ceramic and mechanical filters use to spec something called “skirt selectivity” -60db or more down from the center frequency. This is still an issue with DSP filters even though they SAY they are measured down to -140dB; I can still hear a raspy sideband splatter from strong stations!
Find the same time frame that you recorded the broadcast and make sure it is the same bandwidth filter, AGC, and any noise reduction used. Now record one minute of empty noise to a WAV file. Fortunately on 5850 kHz, WRMI has no adjacent interference.
Now in Audacity, open the noise sample and listen for a 5 to 10 second space to copy that is relatively uniform in noise. We don’t want much beyond that and we don’t really want noise spikes. The object is to reduce background noise. In this case, I chose Start 39 seconds and End 44 seconds. Choose Edit – Copy (or CTRL-C).
Choose File Open and find the broadcast WAV file in question. Now click on the end-of-file arrow or manually type in the Audio Position (in this example 1 minute 15 seconds). Now Paste (or CTRL-V) the 5 seconds of noise to the end of the broadcast file. Now, while the pasted noise is still highlighted, go immediately to Effect – Noise Reduction and choose the button Get Noise Profile. It will blink quickly to read the highlighted 5 seconds of noise and disappear.
Now select all with CTRL-A and the whole file is selected. Go immediately to Effect – Noise Reduction and choose the parameters in “Step 2”. Through some trial and error, I found 3db reduction has a noticeable effect without compromising the music. I have used up to 5 db for some music recorded with narrower bandwidths. Higher levels of noise reduction seemed to create an artificial flatness that was disturbing to me. I also use a Sensitivity of 0.50 and Frequency smoothing of 0. You can choose the Preview button while the Residue circle is checked to actually hear the noise being eliminated. Press OK in order to process the noise reduction. You should now see the waveform change slightly as the noise is filtered. In a nutshell, I find this to be a better noise reduction than using 3db of NR1 in the SDR Console software. Don’t forget to snip off those 5 seconds of noise before saving the file.
Pseudo Stereo
The SDR Console software has an Option for Pseudo Stereo (for playback only) and it can be useful for Amateur Radio receiving, especially in noisy band conditions when one is straining to hear the other person’s call sign and location. There is a way in Audacity to add a fake kind of stereo effect to mono audio files. I found a useful YouTube video that explained it very clearly.
I do everything listed there except for the Reverb effect. I find that too fake for my tastes.
I found the added 10ms of Delay on the right channel to be a little too much, so I use 9ms.
My High Pass filter settings are 80 Hz and 24dB/octave. This is based partly on my hearing preferences as well as established industry standards. There was a lot of science and audio engineering that went into creating the THX home theater crossover standard. There is also science that says that anything below 200 Hz is omnidirectional. The suggested 48dB/octave is too steep in my opinion.
My Low Pass filter settings are more squishy. The YouTube video suggests 8000 Hz and 6dB/octave. I feel that is too gentle a rolloff into the upper midrange. I use 9000 Hz at 12dB/octave for very strong, high quality shortwave broadcasters like WRMI. For more constrained quality broadcasts, like due to limited bandwidth (Cuban broadcasters) or adjacent channel interference, I will decrease down to 8000 or 7000 Hz but still use a 12dB/octave rolloff. This is subjective but it also means I am making a conscious decision to add that processing to the recording for future listening.
MP3 Quality
Typical MP3 files are a Constant Bit Rate of 128k. Some interviews and voice-only podcasts are only 64k. This is adequate but for recording detail in the music I prefer higher quality settings. Frankly, with these days of 4G cell phone service and Unlimited Data minutes on cell phone plans, there is NO good reason to limit MP3 files to just adequate quality levels. The typical MP3 file sounds limited in frequency range (muffled sounding) to me and very lacking in dynamic range (narrow amplitude). This would include limits on stereo files which are about twice the file size of mono files.
I have tried creating WMA files and I actually like the quality a little better than high quality MP3 files. The WMA files seem slightly more “airy” and defined to my ears. But it is a proprietary format from Microsoft and not all web sites or devices will easily play them. They are also a fixed standard and one cannot easily change the quality settings if forced to use a lower quality rendering.
There are many web sites talking about MP3 files, but I found this blog post helpful in summarizing in one paragraph the higher quality settings for a nice MP3 recording using VBR-ABR mode.
So finally for my examples. Since most web sites still prefer MP3 files, I have created these using that blog post’s suggestions. Typically this is Min bitrate=32, Max bitrate=224, VBR quality=9, and Quality=High (Q=2). Let’s see if you can hear the differences. It would be much easier to hear if we were listening to WAV files, but those are way too big to post on this web site! The software I used is Xmedia Recode and I find it easy to use.
This morning, my daughter Geneva and I stepped outside with her Yaesu FT-60 around 8:35 EDT, tuned to 145.80 and listened to Astronaut Mark Vande Hei aboard the ISS speak to a group of students in Green Bank, West Virginia via the ARISS program.
This stuff never gets old.
Here we are standing in the front yard with a handheld radio listening live to an astronaut passing overhead in a football field-sized space station travelling at five miles per second.
This was just one exchange I recorded. At one point, the audio was so good we could actually hear the hum of equipment, and other astronauts speaking and working in the background.
Geneva has a laser focus on making a career in spaceflight, so she absolutely loves this sort of thing.
How to listen to the ISS
Listening to the ISS is very easy: The frequency of the downlink is 145.80 MHz FM. Any scanner or handheld radio that can receive this frequency will work. As the ISS climbs above the horizon, because of doppler-shift, start listening on 145.805, then slowly move to 145.80 as the ISS approaches zenith and finally move to 145.795 MHz as the ISS drops toward the other horizon.
Mobimax sent one of these speakers to me to install and evaluate at no cost to me–I received it last week and installed it yesterday.
Installation
The installation couldn’t have been more simple: the only tool needed is a small Phillips-Head screwdriver. Note that my Belka-DX already had the original speaker option installed.
All I needed to do was remove the lower two screws on both sides of the Belka chassis.
After doing this, the bottom section of the chassis simply pulls out (do this slowly since there are both battery and speaker jumpers).
Next, I unplugged the speaker and battery jumpers from the original speaker option.
Installing the new speaker section was simply a matter of plugging in the speaker and battery jumpers (each plug is a different size so they can’t be confused), then attaching the new pack to the back of the Belka-DX using the same four screws that had been removed.
The whole process might have taken four or five minutes (mainly because I took photos!).
How does it play?
Since I can’t really do a side-by-side comparison with the original speaker and this one, I simply listened to the original speaker tuned to WWV, WRMI, and the Voice of Greece for a while before installing the new speaker.
Both speakers are obviously very small as the Belka-DX is the most compact shortwave portable I’ve ever laid hands on.
Audio quality
I believe the original speaker has better audio fidelity, likely due to the fact it uses the body of the Belka-DX as an enclosure or resonance chamber. The new speaker has a dedicated enclosure, but it’s maybe 40% the size of the Belka-DX body.
In the end, though? Neither speaker will give you the audio fidelity of a traditional portable. The original speaker is just slightly better than the new one. With the Belka-DX, I see the speaker as a wonderful convenience, but frankly, I reach for earphones or headphones if I want to do DXing or proper broadcast listening.
Battery
The new speaker option allows for a full size battery pack in the Belka-DX. This is probably the biggest selling point of the new speaker. The original speaker option fits both the speaker and a smaller LiIon battery pack on the bottom plate of the radio.
The original speaker and smaller battery pack (top section of this photo)
Since the new speaker option adds a dedicated speaker section, it opens up the full real estate of the bottom plate for a full size battery again.
I should also add that the new speaker section matches the original Belka-DX enclosure and speaker in that it’s incredibly durable. Frankly, it feels military-grade and over-engineered. I love it.
Fold-out legs
I really like the fold-out legs on the new speaker. They actually have two indented sections that click into place as you fold them out. This allows for two different stable viewing angles. I prefer having them folded out all the way.
Size
The new speaker option adds a bit of weight and bulk to the Belka-DX.
Again: we’re talking about a wee little radio here, so I can’t imagine someone complaining about the size or weight. The new speaker makes the radio slightly deeper or thicker if you look at it from the side or profile. Frankly, it’s a negligible amount, but worth noting.
Should you buy it?
In my opinion, the main reasons to buy the new speaker option are to take advantage of the longer play time from the full size internal battery and to gain the two fold-out feet. The Belka-DX is so efficient that even the smaller battery pack in the original speaker option will power this radio for many hours without recharge.
Still, if these two factors are important to you, this is a no-brainer.
I would simply pick the speaker option that best suits your needs.
I must say again that it’s a real pleasure evaluating products that are engineered to the degree of the Belka-DX (and Belka-DSP) and both speaker options. These feel like they’re built to last a lifetime and could really take a beating in my various radio packs and kits.
Many thanks again to Mobimax for dispatching one of these for my evaluation.
Many thanks to SWLing Post contributor, TomL, who shares the following guest post:
Indoor Noise and Ferrites, Part 1
by TomL
My magnet wire loop antenna on the porch reminded me to revisit aspects about my noisy Condo that I still needed to understand. Some RF noise I could control if I could find the right kind of information that is understandable to a non-engineer like me. There is a lot written about the general problem of noise and radio listening, for instance this ARRL article with web links to research – www.arrl.org/radio-frequency-interference-rfi, but I needed to get more specific about my particular environment.
I had tried some common clamp-on TDK ferrites I had obtained from eBay a long time ago but they only seemed to work a little bit. I have since found out these are probably the ones which are widely used on home stereo system connections used to reduce noise on those systems. There must be a better way.
The more I researched topics, like a portable “Loop on Ground” antenna, or, using RF chokes on the magnet wire loop, it dawned on my feeble, misguided brain that I was wrongly thinking about how to use ferrite material. For one thing, the material used to suppress RF noise is made with a certain “mix” of elements, like Manganese-Zinc, that electrically “resists” a specified frequency range. Fair-Rite has a useful Material Data Sheets web page which lists the Types of ferrite material. For dealing with noise (at the Source causing the problem), I needed to use the right kind of “Suppression” materials and proper placement. So, it (partly) made sense why the TDK snap-on ferrites might not fully work to reduce certain noise coming from my computer screens, LED lights, USB devices, and cheap Chinese-made power adapters.
A very good paper is by Jim Brown (K9YC) of Audio Systems Group entitled, “Understanding How Ferrites Can Prevent and Eliminate RF Interference to Audio Systems [PDF]”. There is a longer paper speaking directly to Amateur Radio folks, but the Audio version is simpler and it uses some of the same graphs and ideas. I was drawn to the very detailed Impedance measurements of many different “Types” of ferrite material used for different noise mitigation. I remember the traumatic pain of my college experience trying mightily to understand the Van Vlack Materials Science text book to no avail. But Jim’s paper reminded me of the importance of using the correct type of ferrite material and in an optimal way that reacts favorably in the target frequency range to solve a particular noise problem. So, what are my problem areas?
Shortwave Noise
Loop antennas have been what I have experimented with the most. They do not pick up as much man-made noise (QRM) and they have a space saving footprint. Fortunately, there is a wooden porch where these things have been tried. I had successfully built a broadband amplified “ferrite sleeve loop” (FSL) in the past. It was useful for a while but it fell into disrepair and also the Condo building has steadily increased in noise output. The amplifier was just amplifying the noise after a while. I also tried phasing two antennas but found the ever increasing noise cloud was coming from all directions and I could not null it out. I even tried a “mini-whip” from eBay but that just produced a wall of noise.
I recently tested AirSpy’s YouLoop written about before, and the results were good. However, it seemed obvious to me that it was too small as a passive loop to capture shortwave signals strongly enough without resorting to another amplifier attached at the antenna and would not improve the signal/noise ratio. My current solution is a unamplified stealth magnet wire loop about 32 feet in circumference. In that article, I mention things like common mode RF chokes at both ends of the antenna connection, horizontal polarization, and basically accepting that only the stronger shortwave signals will be received in a predictable manner. I think for now, this is about all I can do for shortwave and mediumwave noise, as far as my own Condo-generated noise. Neighborhood noise is a different topic.
VHF Noise
I then started to isolate which devices caused which kind of noise when listening to my outside amplified antennas for FM/VHF and UHF-TV transmissions. Many consumer Power adapters make a lot of noise from VLF up into UHF ranges. One thing I did right was to try a 10 pack of these little miracle “Wall Wart” toroids from Palomar Engineers. One by one, I put one of these small toroids (19mm inside diameter) on my home AC adapters as shown in the pictures, and the noises started disappearing. It does not explicitly say, but I believe it is Type 75 material which suppresses the noise generating AC adapter (at very low frequencies) when wrapped 8 – 12 times.
Most egregious of these was my CCrane FM2 transmitter. A strangled warbling sound kept emanating from the monitor closest to my laptop. Installing ferrites on the laptop and back of the monitor were not working. I moved the FM Transmitter and noticed a reduction in noise. So, I put one of these little toroids on the power input of the device and the noise disappeared. Apparently, it was picking up noise from the monitor (as well as its own power adapter) and rebroadcasting it to all my other radios! The strangled warbler is no more, I choked it (HaHa, sick bird joke).
While looking for the monitor noise, I put the eBay TDK ferrites on all the USB ports and HDMI ports. This has helped greatly on VHF and confirms my suspicion that these cheap TDK ferrites are indeed a common type of ferrite material. Some informative graphs can be seen in Jim Brown’s Audio paper mentioned before. One example might be Figure 22, which shows the #61 Series Resistance which peaks around 100 MHz when using a toroid with three “Turns”. More confused, I could not find a definition of a “Turn”. Eventually, in his longer paper to Amateur Radio operators, he defines it, “…is one more than the number of turns external to the cores”. Somewhere else he describes using many single snap-on ferrites being electrically equal to just one toroidal ferrite with multiple Turns. And interestingly, more Turns shifts the peak impedance substantially lower in frequency. So, using the graphs he supplies, one can target a noisy frequency range to try to suppress.
I then put 6 of the TDK ferrites on the VHF input to the AirSpy HF+. Some FM grunge was reduced and was thankful for that. The rest of the background noise truly seems to be coming from the outside picked up by the amplified antenna.
Also, I juggled a couple of the amplifiers around and now have separate VHF/FM and UHF/TV amplifiers which cleaned up the FM reception a little bit more – https://www.youtube.com/watch?v=zkDsy95et2w .
UHF TV Quality
On a whim, I put the balance of the TDK ferrites on the FM/TV splitter input cable, 10 in all. The FM reception did not improve but the Over The Air UHF TV reception Quality improved noticeably. My weakest TV station now has a stable Signal level and the Quality is pegged at 100%. This is a nice surprise since it means that now all local TV stations on UHF will come in cleanly without dropouts and I can view all digital subchannels. I was even able to rescan and added two more low-power stations never seen before. ?
LED lights
I have common LED lights hanging over a number of fish tanks and some grow lights over an indoor plant box and can hear this noise on upper shortwave and higher radio bands. In a future article, I will explore RF noise from lights as its own special topic. For instance, why do some LED lights generate RFI and how to know before buying (I am using BR30 spot bulbs from name brands)? Also, there is a new kind of LED “filament” light out now that uses much smaller LED’s on both sides of an aluminum strip, greatly reducing electromagnetic noise output (or do they??). More questions than answers.
I will explore creating my own customized AC power cord attached to the AC power strips of the LED lights. I will need to test this for safety and efficacy, so I will want to take some time to do this right. The hope is that, using Jim’s info, I will be able to create a broad spectrum RFI suppression AC power cord and cost less than $30 each cord. We’ll see.
Finally, I will look at “stacked” toroids using different mixes of ferrite Types, creating a custom RF suppression better than using just one Type of ferrite material, using AC cords as the main examples. For instance, the best set of graphs in Jim’s paper, in my opinion, are Figures 21 and 24 compared to each other. Something I did not know before is that one can not only use multiple turns on a single toroid to get a lower, peaked frequency response, but also stack multiple toroids of the same Type to get a smoother frequency response. Then on top of this, combine that set with other Types to create a customized frequency response curve.
Radios are quieter now. Those pesky grow lights are still a problem as well as the upstairs neighbor’s lights which seem to be on a timer, making FM reception noisy again after 5pm!
In November 2020, we learned that the Reciva radio station aggregator would be closing down permanently which would effectively render a large portion of WiFi radios on the market useless. This closure will affect a number of WiFi radio manufacturers, but two of the most notable are Grace Digital and C.Crane. I own one of each.
The Grace Digital Mondo
The comments section of my original post about the Reciva closure became the default discussion group for Reciva device owners who were trying to sort out options to keep their devices functional. That article (at time of posting) has nearly 200 comments alone.
There have been some very productive discussions about circumventing the Reciva aggregator before the announced closure on April 30, 2021. Since this information is buried in such a deep comment thread, I wanted to give it better visibility and search-ability by creating a dedicated post on this topic.
Ray Robinson, one of the contributors who has been actively helping owners, has very kindly written up a tutorial for us here and I’m most grateful.
Ray’s Guide to setting up your own “Reciva” WiFi webserver
Ray writes:
[T]he bad news is that Qualcom is shutting down the Reciva website on April 30th, and any Reciva-based Internet radios will no longer be able to tune stations from that aggregator after the shutdown.
The sort-of good news is that if you have a station link stored in a preset on your Internet radio, the preset should continue to work after April 30th, until such time in the future as the station needs to change the link for their webstream.
Because, the other part of the bad news is that most Internet radios don’t have any way of directly inputting or modifying a webstream, or storing a webstream manually in a preset. So, after April 30th, you would lose any ability to change or update any of the presets.
That’s where my work-around comes in. Internet radios do have the in-built ability to address and pull data from a webserver – that’s how they use the Reciva site in the first place. So what I have done is point my radio (a CCWiFi) to a ‘web server’ on my local network instead. This solution uses a Windows PC; there may be a comparable solution using a Mac or a Linux box, but I’m not familiar with either of those.
First, make sure the PC you are going to use is visible to other PC’s and devices on your local network (‘Network Discovery’ turned on, file sharing enabled, etc.).
Second, I recommend you give the PC a reserved internal IP address in your router. If you leave it with IP being assigned by DHCP, its IP address could change anytime it is rebooted, and then your wi-fi radio won’t be able to find it for the presets. In my router, I assigned 192.168.1.1-200 for DHCP, and then gave my PC the reserved address of 192.168.1.201, which ensures it always has that same address.
Third, enable IIS (Microsoft’s ‘Internet Information Services’) in Windows. This will create a local web server on the machine. In Control, Panel, go to Programs / Turn Windows features on or off. Click the box next to Internet Information Services and OK, and let Windows install that component.
We are going to store our station webstream links on the PC in playlist files, which have the file extension of .pls. But first we have to tell IIS what to do with a .pls file, as it doesn’t know by default. (.m3u files will work as well, but I did it with .pls files, so I’ll detail how to use those.) We do this by adding a MIME type. Click the Windows start button, and search for IIS. The top result will be Internet Information Services (IIS) Manager. Click that. In the center of the panel that opens, click MIME Types and then ‘Open Feature’ at the top on the right. This will show you all the extensions IIS knows about. If you scroll down, you will see there isn’t one for .pls. So, we need to create it. At top right, click Add… In the panel that opens, enter a File name extension of .pls and a MIME type of application/pls+xml Then click OK and exit IIS.
If you now look in the root of the C: drive, you will see there is a folder called inetpub, with a subfolder called wwwroot. This is where we want to store the presets.
My CCWiFi has 99 presets, so I have put 99 files in this subfolder, named from Preset01.pls to Preset99.pls.
As an example, my first preset, Preset01.pls, is for Caroline Flashback. To create the .pls, open Notepad, and copy and paste the following:
Save the file, but change its extension from .txt to .pls.
Then, in Reciva, I need to store the entry in My Streams that will tell the CCWiFi to come and look at that file to know what to play. On the Reciva site in My Streams, I created a stream titled ’01 Caroline Flashback’ with a stream address of ‘http://192.168.1.201:80/Preset01.pls’ Remember, my PC has a reserved address of 201. If you use something different, then you will need to change the stream address accordingly.
Then, on the CCWiFi, go to My Stuff / MyStreams and select ’01 Caroline Flashback’. Reciva is telling the CCWiFi to go to my PC and look at the contents of Preset01.pls. This it does, and starts playing the stream. Then, it’s just a matter of storing that playing stream in preset 1 on the radio.
With that done, at any time in the future if I decide to change the contents of that .pls file, I can just store the details of any other station/stream, and the radio will play that instead without any reference back to Reciva.
I recommend you do that for all available presets on your Internet radio whether you are using them or not, even if they only contain duplicate entries for now, because that way you will maintain access to be able to use those presets in the future. And, you must do this before April 30th, when the Reciva site will shut down.
Actually obtaining the URL of a station’s webstream can be difficult; some stations are very helpful and provide them all on their website, while others seem to do their best to hide them. However, here in Los Angeles, I have found the webstream URL’s of all of our local AM and FM stations, plus the webstream URL’s of all North American SW stations, and all the UK stations as well (both BBC and commercial). I’d be happy to advise on that also, but it’s probably beyond the scope of this particular tutorial!
Thank you so much Ray, for taking the time to write up this tutorial.
If anyone is familiar with how to set up a similar webserver on MacOS or Linux, feel free to comment with details.
By the way Post readers: if the name Ray Robinson sounds familiar, it’s because he’s a weekly contributor to AWR Wavescan, and also a presenter on Radio Caroline Flashback!
Many thanks to SWLing Post contributor, Matt Blaze, for the following guest post:
The “Signal Sweeper”, a portable Wellbrook antenna setup
by Matt Blaze
Here’s a very simple construction project that’s really improved my travel shortwave and mediumwave listening experience.
When I go somewhere interesting (whether a day trip on my bike or a longer excursion to an exotic locale), the two things I’m sure to want with me are my camera gear and at least one good receiver. Fortunately, there are plenty of good quality shortwave receivers to choose from these days; the hard part is packing a suitably portable antenna that can do justice to the signals wherever it is I’m going.
I’ve long had a Wellbrook antenna on my roof at home. These wide-band amplified loops famously enjoy a reputation for excellent intermod and noise rejection, as well as an almost magical ability to pull in signals comparable to much larger traditional HF and MF receive antennas. A portable Wellbrook – something I could pack in my luggage that performs as well as the one on my roof, would be just ideal.
Fortunately, Wellbrook sells a “flex” version of their antenna intended for just this application, the model FLX1530LN. It’s essentially just the amplifier of their fixed-mount antennas, equipped with a pair of BNC connectors for you to attach a user-supplied ring of coaxial cable that serves as the antenna loop. This way, you don’t need to travel with the awkwardly large 1 meter diameter ring of aluminum tubing that makes up the normal Wellbrook. You can just bring a compact spool of coaxial cable and configure a loop out of it when you arrive at your destination.
The tricky part is how to actually form a stable loop out of coaxial cable without needing lot of unwieldy supporting hardware. In particularly, I wanted something that could be set up on a camera tripod to be freestanding and easily rotated wherever I happened to find myself wanting to play radio. The key would be finding or making some kind of mostly non-metalic support for the coaxial loop that could be folded down or collapsed to fit in my baggage or backpack for travel.
And then I found it: a humble 3-section telescoping broom handle sold on Amazon for about $15 that’s exactly the right size: the “O-Cedar Easywring Spin Mop Telescopic Replacement Handle“. It collapses to 22 inches (just short enough to fit in my suitcase), and extends to 48 inches (comfortably long enough for a one meter diameter loop).
Normally, a wire loop would need both vertical and horizontal supports in a cross configuration, but by using a reasonably stiff coaxial cable, I figured I could get away with just using the broom handle vertically. I found that LMR400 (the basic kind, not the “Ultraflex” version) holds its shape quite well in a one meter loop supported this way.
At this point, it was just a matter of the details of attaching and mounting everything together into a portable package.
A one meter diameter loop, which is the ideal size for the Wellbrook amp, can be made from 3.14 meters of cable (ask your middle-school math teacher). That’s about 10 feet for Americans like me. High precision is not required here, so I just cut 10 feet of LMR400.
The next step is to attach the middle of the cable to the top of the broom handle. The O-Cedar handle has a loop at the end for hanging it on a hook in your broom closet. It happens to be just the right diameter for LMR400, but not with BNC connectors attached. So you’ll have to thread the cable through before you crimp or solder on the with connectors. (See photo above). I used the Times Microwave crimp-on BNC connectors, which I had some extras of lying around. I also put some shrink wrap on the cable at either side of the broom loop, just to keep it from slipping out and becoming unbalanced, but that was probably unnecessary.
Now I needed a way to to attach the Wellbrook amplifier to the other end of the handle, as well as some way of mounting the whole thing to a camera tripod. My first thought involved a lot of duct tape. But I wanted something more permanent and reusable.
The key is something called an “L-Plate”, which is a piece of hardware intended to allow you to mount a camera to a tripod in either “landscape” or “portrait” mode. It’s basically two tripod dovetail mounts attached at a 90 degree angle. I used one that was in my junk box, but you can buy them new or used on eBay. I also needed a clamp to attach the L-plate to the broom handle. I used the Novoflex MiniClamp 26, which I got from B&H Photo. The clamp attaches to the inside of the L-plate with a captive screw. (See photos)
Next, I attached the amplifier to the other side of the L-plate using an ordinary screw-on hose clamp. Easy enough, and surprisingly sturdy.
And that’s it. To assemble the antenna, just extend the broom handle to about one meter, allowing for a roughly one meter diameter loop that’s as round as you can make it with the amplifier at the bottom. Then clamp the L-plate to the bottom of the handle so that the handle is just above the base of the plate, and attach to the tripod. (See the photos).
The Wellbrook is powered over the feedline with a 12VDC bias-T injector. So you need a clean source of 12 volts. I use a cheap Talent Cell battery pack (available on Amazon in various capacities). These actually deliver 11.1 VDC (3x 3.7V), rather than the 12V the Wellbrook calls for, but it works fine in practice. I can also use the same pack to power the radio and digital audio recorder.
In the photos, you can see the finished antenna setup on my roof, with my permanent base Wellbrook on the rotor in the background. The performance of the two antennas is quite comparable.
(Note that there’s an eBay seller that makes a somewhat similar travel loop. The performance is quite good under normal conditions, but it is a bit more subject to MW overload when near a transmitter site. So I prefer the Wellbrook, which is much less susceptible to overload, I’ve found.)
My usual complete travel setup is either a Reuter RDR Pocket C2 radio or a Sangean ATX-909X (recently upgraded to the X2 model). Both these radios work well with the Wellbrook. I use a Sound Devices Mixpre 3 to record airchecks in the field. In the photos, I’m on a rooftop DXpedition listening to Toronto traffic and weather from CFRX on 6070 kHz on a warm later winter afternoon.
The whole setup breaks down for travel pretty easily, and fits easily in my suitcase, backpack, or bike bag (see photos). I usually bring a larger tripod than this if I’m also taking my camera.
The Wellbrook setup has really made bringing a receiver into the field a lot easier and less uncertain. There’s no worry about finding trees or other supports for wires, and packing and unpacking is quick and easy. Have fun!
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Many thanks to SWLing Post contributor, TomL, who shares the following guest post:
