Shortwave listening and everything radio including reviews, broadcasting, ham radio, field operation, DXing, maker kits, travel, emergency gear, events, and more
The Buzzer, also known as UVB-76 or UZB-76, has been a constant companion to anyone with a shortwave radio tuned to 4625 kHz. However, [Ringway Manchester] notes that there is now a second buzzer operating near in frequency to the original. Of course, like all mysterious stations, people try to track their origin. [Ringway] shows some older sites for the Buzzer and the current speculation on the current transmitter locations.
Of course, the real question is why? The buzzing isn’t quite nonstop. There are occasional voice messages. There are also jamming attempts, including one, apparently, by Pac Man.
Some people think the new buzzer is an image, but it doesn’t seem to be the same signal. The theory is that the buzzing is just to keep the frequency clear in case it is needed. However, we wonder if it isn’t something else. Compressed data would sound like noise. Other theories are that the buzzing studies the ionosphere or that it is part of a doomsday system that would launch nuclear missiles. Given that the signal has broken down numerous times, this doesn’t seem likely. [Continue reading…]
The pioneering inventor died on March 27th at the age of 96.
If you haven’t heard of Virginia Norwood, it’s about time you did. An aerospace pioneer whose career would have been historic even without its undercurrent of triumph over misogynistic discrimination, she invented the Landsat satellite program that monitors the Earth’s surface today. Norwood passed away on March 27th at the age of 96, as reported by NASA and The New York Times.
She achieved all this despite significant pushback from the male-dominated industry before and after her rise. Despite her obvious talent, numerous employers declined to hire her after graduating from the Massachusetts Institute of Technology. For example, Sikorsky Aircraft told her they would never pay her requested salary, equivalent to the lowest rank in the civil service. Another food lab she applied for asked her to promise not to get pregnant as a condition of her employment. (She withdrew her application.) Finally, the gun manufacturer Remington appreciated her “brilliant” ideas in an interview but told her they were hiring a man instead. [Continue reading…]
Facing an existential moment in the 100-year history of the medium, AM broadcasters are banding together, calling on allies in Congress, and enlisting listener support to preserve their place in the automobile. The heads of 10 state broadcasting associations have formed a Dashboard Subcommittee within the National Alliance of State Broadcasters Associations (NASBA) to slow or stop the removal of AM radio from the dashboard. The two-week old group is working on multiple fronts including fact finding, education and advocacy.
Despite being created 180 years ago and not being a requirement for amateur radio operators to learn since 1990, it has been kept alive by radio enthusiasts – and now more young people are getting involved.
A combination of pandemic lockdowns forcing youngsters to learn something new, and the use of Morse Code by popular K-Pop bands, has led to ‘a renaissance’ in teens wanting to learn the once groundbreaking form of communication.
From five-year-olds to 99-year-old war veterans, people all over the world are tapping in to communicate with others on the radio. [Continue reading…]
As he sits in a shed on the outskirts of Cambridge, Martin Atherton twists a radio dial and picks up a message being sent in Morse code. The audio dots and dashes, familiar from black-and-white war films, might seem to be relics of a past era.
But more than a century after it was first used, this mode of communication appears to be making a comeback. Since 2006 the number of amateur radio licences, which allow holders to send Morse and voice messages, has increased by almost 60 per cent, according to the Radio Society of Great Britain.
Last year the number of 13 to 44-year-olds viewing the society’s online tutorials, which cover topics such as “improving your Morse skills” and how to build your own equipment, more than tripled.
Allowing people to reach out to distant lands on a shoestring budget, the hobby could have been tailor-made for lockdown. The Netflix series Stranger Things, in which a “ham” radio set is used to contact another dimension, has also been linked to an increase in interest.
“Teenagers are picking it up, so are retirees,” said Atherton, 69, a member of the Cambridge University Wireless Society. [Continue reading…]
In the 1960s, the BBC had a vise grip on British radio, and rarely played the pop and rock music that was all the rage. So a group of rebellious radio DJs decided to give the people what they wanted, and started broadcasting popular music from boats stationed in international waters. Soon enough, these young DJs became national superstars… until the British government decided it was time to sink these pirates once and for all. This story comes from the History This Week podcast.
It has been just over four years since Hubbard Radio’s adult alternative “The Gamut” WWFD, Frederick, MD (820) powered down its analog signal and began operating as a digital-only AM station under experimental authority granted by the FCC. Since then, new FCC rules permitting all-digital AMs industrywide have broadcasters taking a closer look at WWFD as they consider options for struggling AMs.
WWFD posted a 1.5 share (12+) in Nielsen’s Frederick, MD spring survey with a weekly cume of 3,300. Before it went all digital, Dave Kolesar, Senior Broadcast Engineer at Hubbard and the station’s PD, says it was a ratings no-show, “a wasted signal.”
The idea for making the all-digital leap came around Christmas 2016 when Kolesar concluded that a music format on AM – even one as differentiated as The Gamut’s expansive playlist – was “pretty much a nonstarter that exists for the purpose of having an FM translator. In all-digital mode, the AM signal has the capability of becoming relevant again” with digital sound quality, and artist and album title and album artwork displays.
According to Xperi, about 35% of cars on the road in the DC market are equipped with HD Radio receivers. Yet only a small fraction of listening to radio in the market is to AM radio. The station focuses on the one-third of the market that could enjoy a music format that looks and feels like any other service in the dashboard. The strategy involves using the FM translator as promotional vehicle for the digital AM frequency: “when you’re outside the coverage area of our 94.3 FM signal, tune into 820 and hear us while you’re driving around,” Kolesar explains. [Continue reading…]
Radio DJ Tom Edwards looks back at his youth spent broadcasting off the East Anglia coast
Although I’ve lived in Lincolnshire for nearly 30 years having been born and educated in Norwich, I will of course always be a Norfolk man. At 77 years of age now I’ve been a broadcaster for 57 of those years.
During Easter of 1964 a somewhat mysterious radio station came on the airwaves playing non-stop music and the presenters seemed to be just ad libbing at the microphone in contrast to the rather staid BBC light programme which hardly played any popular music. The station turned out to be the now famous Radio Caroline, which was transmitting from a ship off the East Anglia coast.
I was a Bluecoat at Pontins holiday camp at Pakefield and the site had a Radio Pontins Tannoy system so I asked the boss for some money to buy some 45 hit singles which he agreed to and so started doing record requests for the happy campers.
Other stations, whether they were ships or wartime fortresses, suddenly began to appear right around the coast of the UK. Apart from Caroline there were other stations including Radio London, Radio England, Radio270 and Radio 390.
The more I heard of these stations, which were becoming so popular with an estimated audience of 22 million, the more I wanted to be out there at sea with them. I wrote and sent tapes of my Pontins shows to all of them. While on a few days off in Norwich, a man called Reg Calvert called me and said he liked what he heard and offered me a weekend try out on Radio City. [Continue reading…]
Surrounded by the barbed wires, dense deodar trees and Pir Panchal mountains in the backdrop, this is the All India Radio (AIR) Srinagar’s Radio Station which has been set up close to the Line of Control (LoC) in Rustum area of J&K’s Uri sector.
Set up in November 2020, the station has been built 9,000 feet above the sea level.
The radio station has been set up with an aim to provide access to the Kashmiri people living on the other side of the border to listen to their favourite programs.
“The local news, music programs and especially Pahari and Gojari programs are aired from this station for the Kashmiri population living on the other side of the LoC,” said Qazi Masood who heads the station in Uri. [Continue reading…]
Three top public media podcast executives discuss with PMA the benefits and complications that come with collaborations, and how ultimately, they can help public media organisations fulfil their public service obligations.
As the podcast market globally becomes ever more saturated and competitive, PMA invited three top podcast executives from three leading public media organisations to discuss how collaborations might provide the pathway for public media organisations to remain the premier podcast producers. It came after a talk about podcast collaborations at Radiodays Europe in Malmö, Sweden in May 2022.
They spoke to PMA’s Editorial Manager, Harry Lock.
Harry Lock:Could you give me some examples of podcasts which you’ve worked on where you collaborated with another organisation? How does it actually work logistics-wise?
Arif Noorani, Director of CBC Podcasts: Hunting Warhead is a collaboration we did with VG, Scandinavia’s biggest newspaper, on a story they’d spent more than two years on (it was nominated for a Prix Italia.) Production wise – CBC led the podcast and embedded a VG team member in the production team providing contacts, research and notes on scripts.
We have three international co-productions with the BBC World Service – launching in the next year. It’s an equal joint effort – Jon Manel, commissioner for the BBC World Service and I co-lead all aspects of the project. We think the combined heft of CBC Podcasts and the BBC World Service was attractive. We meet weekly and more (along with Whatsapping each other if it’s urgent) to discuss production, content, rollout and all the business side of things. We have one point person between the production teams and the BBC/CBC to keep it streamlined. To make this work, you have to have lots of trust between all sides, and a shared vision of the type of content you want to make (in this case journalistically-driven serialised narrative storytelling rich in characters and heartbeat). Jon and I have informally collaborated for a few years so that really helped. We’ll also combine our audience building, digital and marketing efforts in the launch and rollout.
Andrew Davies, Digital and Engagement Editor, ABC Australia: Co-productions and collaborations with external organisations/partners is still a relatively new area for the ABC in podcasting. There have been a number of collaborations between Radio National (ABC’s specialist talks network) and the BBC but those have mostly been radio focused. The ABC’s Audio Studios team did a co-production with WNYC Studios a few years ago with Short & Curly, our very popular ethics podcast for children.
More recently we’ve worked with Arif and the CBC Podcasts team around the release of series two of our popular Stuff The British Stole podcast. That involved the CBC team helping with audience building (through cross-promotion, publicity, marketing and digital/social content) in the North American market. That was a really successful collaboration and we were excited to work with the CBC as we knew they recognised not just what a great show it is but also wanted to help it reach a bigger audience. There were a large number of people involved from both broader teams but I want to echo Arif’s point about having clear point people on both sides to keep things streamlined.
Tim Watkin, Executive Producer of Podcasts & Series, RNZ: RNZ Podcasts has produced 46 podcasts in partnership with 38 different organisations. That includes other broadcasters and media, production houses and funders. Collaboration can take many forms.
The most common form of collaboration for RNZ is where we make a podcast alongside an independent production company. For example, Eating Fried Chicken in the Shower is a series that was pitched to us by an independent producer, Charlie Bleakley, and host James Nokise. RNZ paid for the series but was very hands-on, more than a mere commission. We provided a supervising producer, sound recordist on location, draft audio edits, studios for the final mix and promotion. [Continue reading…]
Although Irish pirate radio is our main interest, today we explore the lively pirate scene in the Brooklyn area of New York City. The Brooklyn Pirate Radio Sound Map is a fascinating project established by radio producer and audio archivist David Goren and provides interactive maps and historical and contemporary recordings of the many unlicensed stations in Brooklyn.
This is a longer version of an interview by John Walsh with David Goren first featured in Wireless, a series about radio, audio and media on Flirt FM in Galway. It covers the history of pirate radio in Brooklyn and New York generally, attempts to crack down on the unlicensed stations, the role of low-powered FM, the background to the Brooklyn Pirate Radio Sound Map itself and plans for the future. Many thanks to David for taking the time to explain this fantastic project for us. [Read the full article and listen to the interview on the Irish Pirate Radio Audio Archive…]
With the advent of the 9V battery-powered transistor radio in the 1950s, the “Emergency Radio” was born.
Unlike vacuum tube receivers with heavy batteries or unpowered crystal radios, these handheld AM portables were small and simple enough to keep in a drawer. They could then be retrieved whenever man-made or natural disasters knocked out the power, providing listeners with lifeline connections to news, weather and relief information. Continue reading →
FCC Enforcement Bureau traced FM signals after receiving complaints
Continuing its efforts to fight illegal broadcasts, the Federal Communications Commission has sent notices to five property owners and managers in and around New York City.
The letters from the Enforcement Bureau inform the owners that the FCC, after receiving complaints, traced unlicensed signals to each property in April, May or June. These letters inform the owners that under federal law, anyone who allows pirate radio broadcasting on a property can face significant financial penalties — up to $2.1 million.
The recipients are given 10 business days to show that they are no longer permitting pirate radio on their properties and to identify individuals engaged in pirate radio on the property that they own or manage. [Continue reading…]
Every so often, our star fires off a plasma bomb in a random direction. Our best hope the next time Earth is in the crosshairs? Capacitors.
TO A PHOTON, the sun is like a crowded nightclub. It’s 27 million degrees inside and packed with excited bodies—helium atoms fusing, nuclei colliding, positrons sneaking off with neutrinos. When the photon heads for the exit, the journey there will take, on average, 100,000 years. (There’s no quick way to jostle past 10 septillion dancers, even if you do move at the speed of light.) Once at the surface, the photon might set off solo into the night. Or, if it emerges in the wrong place at the wrong time, it might find itself stuck inside a coronal mass ejection, a mob of charged particles with the power to upend civilizations.
The cause of the ruckus is the sun’s magnetic field. Generated by the churning of particles in the core, it originates as a series of orderly north-to-south lines. But different latitudes on the molten star rotate at different rates—36 days at the poles, and only 25 days at the equator. Very quickly, those lines stretch and tangle, forming magnetic knots that can puncture the surface and trap matter beneath them. From afar, the resulting patches appear dark. They’re known as sunspots. Typically, the trapped matter cools, condenses into plasma clouds, and falls back to the surface in a fiery coronal rain. Sometimes, though, the knots untangle spontaneously, violently. The sunspot turns into the muzzle of a gun: Photons flare in every direction, and a slug of magnetized plasma fires outward like a bullet.
The sun has played this game of Russian roulette with the solar system for billions of years, sometimes shooting off several coronal mass ejections in a day. Most come nowhere near Earth. It would take centuries of human observation before someone could stare down the barrel while it happened. At 11:18 am on September 1, 1859, Richard Carrington, a 33-year-old brewery owner and amateur astronomer, was in his private observatory, sketching sunspots—an important but mundane act of record-keeping. That moment, the spots erupted into a blinding beam of light. Carrington sprinted off in search of a witness. When he returned, a minute later, the image had already gone back to normal. Carrington spent that afternoon trying to make sense of the aberration. Had his lens caught a stray reflection? Had an undiscovered comet or planet passed between his telescope and the star? While he stewed, a plasma bomb silently barreled toward Earth at several million miles per hour. [Continue reading at Wired…]
The following article is an original work published by the Information Professionals Association. Opinions expressed by authors are their own, and do not necessarily reflect the views of or endorsement by the Information Professionals Association.
By Tom Kent
As Vladimir Putin tightens his stranglehold on what his citizens see and hear, will radio once again become an effective way to get outside voices into Russia?
For the time being, U.S. broadcasting officials believe the best way to get their content to Russia’s population is still through the internet, despite all of Putin’s attempts to control it. Activists in the United States and Europe, however, are convinced that in a wartime situation, those wanting to reach Russians should be trying everything – including shortwave radio, the mainstay of Cold War broadcasting by the Voice of America (VOA) and Radio Free Europe/Radio Liberty (RFE/RL).
The U.S. government’s reluctance to return to shortwave has led to the odd spectacle of American volunteers taking broadcasting into their own hands. Activists have crowdfunded projects to transmit on shortwave channels programs produced by VOA and RFE/RL that the government declines to broadcast with its own transmitters.
Shortwave broadcasting uses high frequencies that can reach across continents. During Soviet rule, VOA, RFE/RL, the British Broadcasting Corporation (BBC) and other stations used shortwave to punch news, religious programs and forbidden Western music through the Iron Curtain. Soviet jamming stations tried to drown out the broadcasts, but much of the content got through.
With the collapse of the Soviet Union and the rise of the internet in Russia, foreign shortwave broadcasting tapered off. Boris Yeltsin let RFE/RL open local stations in some 30 Russian cities, but under Putin they were forced to close because of Russian laws. The United States then switched its radio and video services for Russians almost entirely to the web and social networks.
Since the war began, however, Russian authorities have increasingly blocked from the internet any content that criticizes the war or Putin’s rule. Many Russians use VPNs and other software to get around the blocks, and have come to the US broadcasters’ websites and social network feeds in droves. But Russian officials are working feverishly to block these circumvention tools, and may be able to determine which citizens are using them. [Continue reading on the IPA website…]
With music consumption having long ago moved to a streaming model in many parts of the world, it sometimes feels as though, just like the rotary telephone dial, kids might not even know what a radio was, let alone own one. But there was a time when broadcasting pop music over the airwaves was a deeply subversive activity for Europeans at least, as the lumbering state monopoly broadcasters were challenged by illegal pirate stations carrying the cutting edge music they had failed to provide. [Ringway Manchester] has the story of one such pirate station which broadcast across the city for a few years in the 1970s, and it’s a fascinating tale indeed.
It takes the form of a series of six videos, the first of which we’ve embedded below the break. The next installment is placed as an embedded link at the end of each video, and it’s worth sitting down for the full set.
The action starts in early 1973 when a group of young radio enthusiast friends, left without access to a station of their taste by Government crackdowns on ship-based pirate stations, decided to try their hand with a land-based alternative. Called Radio Aquarius, it would broadcast on and off both the medium wave (or AM) and the FM broadcast bands over the next couple of years. Its story is one of improvised transmitters powered by car batteries broadcasting from hilltops, woodland, derelict houses, and even a Cold War nuclear bunker, and develops into a cat-and-mouse game between the youths and the local post office agency tasked with policing the spectrum. Finally having been caught once too many times, they disband Radio Aquarius and go on to careers in the radio business.
The tale has some tech, some social history, and plenty of excitement, but the surprise is in how innocent it all seems compared to the much more aggressively commercial pirate stations that would be a feature of later decades. We’d have listened, had we been there!
Eton dealer “Universal Radio” in Ohio USA is accepting orders as of June 28, 2022 for the Eton Elite Satellit ($ 599.99 + $ 14.95 USA shipping, sorry Universal will NOT ship outside the USA) for late July 2022 delivery. The new Eton Elite Executive HD ($ 249.99 tentative) is now listed for November 2022 release (sorry no pre-orders are being accepted yet).
RNZ Chief Executive and Editor-in-Chief Paul Thompson has welcomed the budget investment in RNZ Pacific shortwave transmitters.
In Budget 2022 the Government announced $4.4 million dollars capital funding for a new transmitter for RNZ Pacific.
RNZ Pacific broadcasts into the wider Pacific on shortwave 24 hours a day, collaborating with 22 broadcasting partners across the region. Its current primary transmitter is nearing end of life, and its other transmitter has in effect already been retired.
“The value of the RNZ Pacific service can’t be underestimated. Our voice reaches all parts of the Pacific, at times with critical information such as cyclone warnings. During the Tonga eruption, when the undersea cable was cut, RNZ Pacific short wave was a lifeline source of information,” said Thompson.
This investment secures a productive future for our unique voice. The attraction of the shortwave service is its robustness, and the ability to have the signal travel great distances, and achieve good audiences,” he said.
RNZ Pacific broadcasts enhance the Government’s Pacific strategy as we share our history, culture, politics and demographics. The strategy is underpinned by the building of deeper, more mature partnerships with Pacific Island countries, and by supporting their independence and sustainable social and economic resilience.
Since the ABC ceased its shortwave broadcasting the only other shortwave broadcaster in the region is Radio China. Thompson says RNZ can now start work on its infrastructure development with a new transmitter likely to take approximately 12 months to get in place depending subject to further project planning.
More than 14 million people have fled their homes since Russia’s invasion of Ukraine and the war shows no sign of ending. For World Refugee Day on 20 June, we are highlighting some of the issues faced by displaced Ukrainian people – and reaffirming that the support from the EBU and its Members will continue.
That support has manifested across a range of projects:
Air strikes on the TV towers in Kyiv and Rivne underlined the vulnerability of broadcast communications in a war zone. Together with our Members, we have coordinated the supply and delivery of critical equipment such as IP connectivity solutions, satellite phones, AM transmitters, and studio support to enable the uninterrupted transmission of vital news and information.
In these circumstances, being able to rely on accurate news sources is key. Many EBU Members have launched dedicated news services specifically for refugees in their own language, so that they can tap into vital updates from home, wherever in the world they are. Rai News in Italy has a daily news bulletin in Ukrainian; RTBF UKRAINE is a new web-based radio station for Ukrainian refugees in Belgium, with 100% of its content in Ukrainian; and Yle in Finland has a Ukrainian-language news service for providing the latest news bulletins in Ukrainian. Many public media outlets are also re-transmitting content directly from Ukrainian public broadcaster, UA/PBC for Ukrainian refugees.
Providing practical information to help people navigate the uncertainties of settling into new homes has also been a priority and has seen the launch of many dedicated programming and channels: GPB has a hotline for Ukrainians in Georgia; Czech Radio and Radio Prague have launched a podcast, ‘News for Ukrainians in Czech Republic’, that offers practical information for incomers. While ARD in Germany presents How To Deutschland Insta; Swedish Radio’s Ukrainian service for new arrivals includes practical advice on how to access medical care or education facilities for kids and RTP’s online service helps with learning a new language.
For children, displacement through war is particularly traumatic. TVP in Poland has developed a site for kids from Ukraine which, as well as showing selected content in Ukrainian, also presents lessons in learning Polish; ARD and ZDF in Germany have included content in Ukrainian for children, including German-language learning programmes, and Czech Radio has recorded fairytales in Ukrainian.
Noel Curran, Director General, EBU, said “Few of us can understand the trauma of being forced to leave our homes, not knowing when or if we will return. I’m proud to belong to a community that has mobilized a wide range of practical support so quickly while ensuring trusted news and information continues to reach those who need it, wherever in the world they are. World Refugee Day is a moment to reflect on a situation that continues to need targeted support. And to reaffirm our commitment to giving it for as long as it takes.”
Projected cost reductions cited as reason for Germany to accelerate the migration to DAB+
As energy costs rise, Deutschlandradio Director Sefan Raue sees a further reason to hasten an FM switch-off for Germany.
“We will not be able to afford two terrestrial distribution channels in the long run. The signs are clearer than two or three years ago,” Raue told German press agency dpa, according to Hadelsblatt. “FM is an energy guzzler.”
A public broadcaster, Deutschlandradio is based in Cologne and Berlin and operates several national channels on DAB+ and FM. The channel been steadily replacing its remaining FM transmitters with DAB+; six of its short-range analog transmitters are going dark at the end of June 2022. The broadcaster expects to have at total of 161 locations broadcasting its DAB+ channels nationwide by year-end, reaching some 90% of the German populace. [Continue reading at Radio World…]
