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Many thanks to SWLing Post contributor, Jock Elliott, who shares the following guest post:
There’s a 50-foot antenna in this room. Can you spot it?
Got reception issues? An idea worth considering: the “Horizontal Room Loop.”
by Jock Elliott (KB2GOM)
When my radio room was in the front of the house (on the east side), it was easy to run a feedline to a large RF-hungry SWL dipole with various stubs and feeders.
Now, however, with my “shack” moved to the SW corner of the house, any attempt to mount an outdoor antenna of any significant length raised potential safety issues because of nearby electrical lines.
Monitoring VHF/UHF is no big deal because of high-performance scanner antennas. HF, however, presents challenges.
My main SWL receiver is a Satellit 800, which has the guts of a Drake R8 and also has a large telescoping vertical antenna. It works okay, but I wanted more signal. I had been looking at small loops and got some great recommendations on Radio Reference, but then I had a thought: what if I turned the 8′ x 12′ room into a giant horizontal passive loop?
Here’s a hint.
So I called a ham friend and ran the idea by him. “Sure,” he said, “give it a try.” He gave me 25 feet of 4-conductor phone wire. Before I could use it, I had to strip off the outer insulation so I could get at the four separate insulated wires inside. The better half helped. Once I had the four wires, I connected two of them together and ran the resultant 50-foot strand around the perimeter of the room by taping the wire to the top of window frames and hiding the wire on the top shelves of book cases. As a result, the horizontal room loop is near the ceiling, about 7 feet in the air, and the room itself is on the first floor.
With the loop in place, I hooked the ends to the clip-in terminals on the back of the Satellit 800.
There’s a switch on the back of the 800 that allows me to quickly compare the loop with the radio’s built-in vertical antenna. And . . . it works! It pulls in more signal than the vertical (as measured on the signal strength meter), but I have not noticed a dramatic reduction in noise. On some stations, the horizontal room loop brings the signal up to full scale, and then the sound is very agreeable indeed.
In all, I am pleased with the results.
For anyone who wants squeeze more performance out of their shortwave receiver, I can recommend giving the horizontal room loop a try. It’s not expensive; it’s relatively easy to do (and undo if you don’t like the results), and just might improve your shortwave reception.
If you are not blessed with a bunch of window frames on which you could tape the wire for your room loop, you’ll have to get creative, but with lightweight wire, you don’t need a massive support structure. Tape, map tacks, or even self-adhesive Velcro segments might work for putting your room loop in place.
I don’t claim that this is the “ultimate” SWL DX antenna, but it certainly improved my situation. Perhaps others have suggestions for improving it.
Many thanks to SWLing Post contributor, Giuseppe Morlè (IZ0GZW), who shares the following video and notes:
I recently bought a Tecsun S-8800 to be used mainly on shortwave. I carry it in an aluminum case to use it everywhere:
Many thanks for sharing this, Giuseppe! I love the integrated antenna–so clever!
Post readers: Giuseppe has had issues with the S-8800 accidently turning on in the case. Can anyone describe the button combo needed to lock the dial and controls during transport? I checked the manual but have found no reference. Please comment if you can help!
Many thanks to SWLing Post contributor, Dan Robinson, who has recently been in touch with Anna at Anon-Co and discovered a few Tecsun S-8800 hidden features we haven’t mentioned in the past.
Anna notes:
There are some hidden features for this model that are worth mentioning, and are available on all S-8800 radios, also the pre-2021 ones.
Backlight setting
In power-off mode, press and hold [ 2 ] on the remote until the display shows “ON” or “Off”, this to change the backlight setting to always-on or auto-off. In the auto-off setting the backlight turns on after pressing a button or using a tuning knob, and turns off automatically after a few seconds.
DNR (Dynamic Noise Reduction
In the AM band (LW, MW, SW), first press and hold [ 4 ] on the remote to activate the possibility of this feature. The display will show “ON” or “Off”. Make sure that it is turned on. Subsequently, press and hold [ 6 ] on the remote until the display shows “ON” (DNR activated) or “OFF” (DNR deactivated).
FM De-emphasis Time Constant
While receiving FM broadcasts, long press [ 5 ] on the remote to adjust the de-emphasis setting to 50?s or 75?s.
Adjusting the signal indicator sensitivity:
1. Enter FM, LW, MW or SW band
2. Select a weak station.
3. Press [ 7 ] on the remote for about 0.5 seconds.
4. Rotate the main tuning knob immediately to adjust the bars of the signal indicator.
5. Press any button for confirmation or auto save after 2 seconds.
While making the adjustment in step 4, the value in the top-right corner of the screen changes. The factory default value is supposedly around “6” for FM and SW: 6, and around 16 for MW. The adjustment range is -99 – 99.
Add Seconds to the Clock
With the device turned off, press and hold [ 8 ] on the remote to add seconds to the clock. Press and hold [ 8 ] again to hide the seconds from the clock.
Adjust the FM soft muting threshold
While in FM, press and hold [ 9 ] on the remote for about 2 seconds until the current level (probably around level 5) appears in the main display area. Then adjust it by rotating the tuning knob and then press [ 9 ] again to confirm the setting.
Many thanks to Dan and Anna for sharing these tips!
Many thanks to SWLing Post contributor, Nick Boras, who shares the following:
I was motivated by one of Tom Styles videos (hamrad88) about Sync detection to make one of my own. It is no secret that Tecsun offers Sync on several of their radios but only the 660 and 680 really work. My take on Sync is that the results are not consistent even on some of the highest rated Sync radios. While my video is not scientific or nearly complete, I think it gives a good representation of what we can expect from Sync for SWL.
[In addition] today was Radio Day, so I made another video on a very interesting radio:
Thought your readers might be interested.
We are indeed! Thank you for sharing these videos, Nick! That Racal, by the way, is a beautiful beast of a rig!
Many thanks to SWLing Post contributor, Adid, who shares two inexpensive mods he made on his XHDATA D-808 shortly after taking delivery of it in 2018. One is simply clear tape over the display to protect it from scratches. The second is applying three tiny drops of glue which create tactile points on the keypad for nighttime operation.
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:
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.
