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Many thanks to SWLing Post contributors Scott Gamble and Bill Mead who both share the following story via the CBC News:
Joseph Hovsepian says he is part of the last generation that knows how to repair electronics
Joseph Hovsepian has been repairing? radios for so long that he claims that he can sometimes smell the problem.
“When I pick up a radio, I turn it on or I plug it in and the way it smells, the way it sounds or doesn’t sound, the way it crackles and fades away, all these things are recorded in my brain and I know exactly how to start and how to fix it,” he said.
Since 1960, Hovsepian has been fixing radios, turntables and other electronic gadgets from his Parc Ave. repair shop.
The 79-year-old sees himself as part of the last generation of people trained in the art of repair.
“We have lost the ability to touch things, fix things, repair them and feel good for doing it,” he said.
For almost his entire life, Hovsepian has been tinkering with radios. He built a crystal radio when he was 12, and his first tube radio at 15.
[…]He believes that today’s electronics lack the warmth that the old radios offered. Hovsepian said smartphones look dead to him compared to old technology.
“Even the sound of the old radios, a little scratch here, a little scratch there…This is radio.”[…]
This is a charming story and I think Post readers can certainly understand why radio seems to be in a class of its own. I feel very fortunate that I’m friends with two people who repair radios for others, my buddy Charlie (W4MEC) and Vlado (N3CZ). Both are kind enough to show me the ropes as they troubleshoot problem sets.
Post readers: Do you live somewhere with a radio repair shop? Have any readers ever visited Mr. Hovsepian’s shop in Mile End? Please comment!
Last month we covered Part One of our three-part primer on software-defined radios (SDRs). While last month’s Part One focused on the nomenclature and components of a functioning SDR system, Part Two will take a look at some affordable SDR station options that will propel you into the world of SDRs for less than $200 US. We’ll cover Part Three in November, and we’ll dive a little deeper into the rabbit hole and cover higher-end SDRs and ham radio transceivers with embedded SDRs.
SDRs are affordable
If there’s one thing I’d like you to take away from this part of our primer, it’s that SDRs are truly affordable. For less than the price of a typical full-featured shortwave portable, you can own an SDR that covers almost all of the listening spectrum, and that does so with excellent performance characteristics.
We’re lucky to live in a time of phenomenal radio innovation. When I first jumped into the world of SDRs, the least expensive SDR that covered any of the bands below 20 MHz was about $500. That was only a few years ago, in 2010 or so.
Yet in the past three years, affordable SDRs have become the dominant radio product on the market. And these modestly-priced products have made the barrier of entry into the SDR world crumble overnight.
Today, even a $100 SDR has more features, more frequency range, and more functionality than a $1000 SDR from just a decade ago. Times have changed dramatically; indeed, the pace of innovation in this craft is simply amazing.
Before we begin looking at some choice sub-$200 SDRs, I’d just like to direct your attention to the first part of our SDR Primer (click here to read). Specifically, I’d like you to note one element I discussed in that article: the vital importance identifying your goals as an SDR owner. In other words, how do you plan to use your SDR? If you’re only seeking an SDR to listen to local ham radio repeaters, track cubesat satellites, or gather ADS-B information from aircraft, a $25 SDR will more than suffice. If you wish to use the SDR as a transceiver panadapter, or you wish to chase weak signal DX on the HF bands, then I’d suggest you invest a bit more.
I’d also like to remind you, as I noted in the previous article, that this primer will be limited in the SDRs I highlight. The reason for this is simple: there now exists a vast ocean of SDRs on the market (just search eBay for “SDR” and you’ll quickly see what I mean) so all models simply can’t be included in this introductory foray. I’ll be focusing here on several SDRs that cover the HF spectrum and above. I’ll also focus on SDRs with which I have personal experience, and which I consider to be “enthusiast” grade among a healthy community of users. Of course, this part of the primer will only include HF-capable receivers that cost a total of $200 or less.
Let’s take a look at what’s on the market in order of price, starting with the most affordable.
$10-$25: The RTL-SDR dongle
No doubt, many of you reading this primer have purchased an RTL-SDR dongle. Over the years, I’ve owned three or four of them and have even purchased them for friends. These dongles originally appeared on the market many years ago as mass-produced DVB-T TV tuner dongles based on the RTL2832U chipset. Very soon, users discovered that with just a little hacking, the dongle was capable of much, much more than its original intended purpose.
The dongle resembles a USB memory stick. On one end, you’ll find a standard USB connector. On the other, you’ll find an antenna port, typically SMA, to which one connects an antenna. Although it goes without saying, here’s a friendly reminder: make sure you’re choosing an antenna to match the frequency range you’re exploring!
I’ve seen this older model of RTL-SDR being sold for $9 at Hamvention.
Early RTL-SDR dongles couldn’t cover the HF bands or lower, but many models can now cover a gapless 500 kHz all the way to 1.75 GHz.
So, what can you do with an RTL-SDR dongle? In short, quite a lot! Here are a few of this simple device’s many applications and uses in our hobby. It can:
become a police radio scanner
monitor aircraft and ATC communications
track aircraft with ADS-B decoding and read ACARS short messages
scan trunking radio conversations.
decode unencrypted digital voice transmissions such as P25/DMR/D-STAR.
track maritime boat positions like a radar with AIS decoding.
And, of course, you can listen to any signals between 500 kHz up to 1.75 GHz––essentially, most of the radio listening landscape.
Is $25 still a little high for your budget? RTL-SDR dongles can be found for as low as $10 US, shipped, on eBay. While the cheapest of these dongles may suffice for some radio applications, I’m partial to the dongle produced by RTL-SDR.com, since they’re built in a tough metal enclosure, have thermal pad cooling, as well as extra ESD protection. Amazon has an RTL-SDR.com dongle starter package with antenna options for about $26. That’s, what, the price of three hamburgers? Two orders of fish and chips? And worth it.
Many third-party SDR applications support the RTL-SDR dongle, but my favorite is SDR# (click here to download).
So, the major pros of this little SDR are 1) obviously, the price; 2) many, many uses; and 3) the fact that it’s the most popular SDR on the market, with a massive online user base.
What about negatives? Well, to be frank––aside from the dongle’s budget-busting versatility––the fact is that “you pay for what you get.” You’re investing just $10-$27 in this receiver, so don’t expect exceptional performance especially on anything lower than 50 MHz. On HF, for example, the RTL-SDR could easily overload unless you employ external filtering.
Indeed, I’ve never used the RTL-SDR for HF DXing, but I currently have three dongles in service 24/7: two as ADS-B receivers, and one as a receiver for the LiveATC network. And these work hard. Indeed, It’s a workhorse of a device!
I suggest you grab an RTL-SDR and use it as an accessible step into the world of SDRs, and as an affordable single-purpose tool to unlock the RF spectrum!
When you invest a modest $99 US (or $120 shipped), and purchase the RSP1A, you take a major step forward in the SDR world.
UK-based SDRplay is an SDR designer and manufacturer that focuses on enthusiast-grade, budget wideband SDRs. SDRplay designs and manufactures all of their SDRs in the United Kingdom, and over the past few years, they’ve developed a robust user community, extensive documentation, and, in my humble opinion, some of the best tutorial videos on the market.
SDRuno windows can be arranged a number of ways on your monitor.
Although the RSP series SDRs are supported by most third-party SDR applications, SDRplay has their own app: SDRuno. Moreover, SDRuno is a full-featured, customizable application that takes advantages of all of this SDR’s performance potential and features. I should mention that installing the RSP1A and SDRuno is a pure plug-and-play experience: just download and install the application, plug in the RSP1A to your computer, wait for the USB driver to automatically install, then start SDRuno. Simplicity itself.
While the RSP1A is SDRplay’s entry-level wideband SDR, it nonetheless plays like a pro receiver and truly pushes the envelope of performance-for-price, and for other SDR manufacturers, sets the bar quite high. The RSP1A is a wideband receiver that covers from 1 kHz all the way to 2 GHz; equally pleasing the longwave DXer, HF hound, tropo-scatter hunter, and even radio astronomer. This affordable SDR really covers the spectrum, quite literally. Not only does the RSP1A cover a vast frequency range, but its working bandwidth can be an impressive 10 MHz wide and via SDRuno, the RSP1A will support up to 16 individual receivers in any 10 MHz slice of spectrum. All this for $99? Seriously? I assure you, yes.
Think of the RSP1A as the sporty-but-affordable compact car of the SDR world. It delivers performance well above its comparatively modest price, and is fun to operate. In terms of DX, it gets you from point A to point B very comfortably, and is a capable receiver which will help you work even weak signals––and very reasonably!
If you’re looking to explore the world of SDRs, would like a capable receiver with great LW/MW/HF reception to do it with, but also want to keep your budget in check, you simply can’t go wrong with the RSP1A.
Many years ago when I ventured into the world of SDRs, one of the only affordable SDRs which covered the HF bands was the FUNcube Dongle Pro+.
The Funcube Dongle Pro+, which resembles the RTL-SDR “stick” type dongle, was originally designed as a ground receiver for the FUNcube Satellite (cubesat) project initially made possible by AMSAT-UK and the Radio Communications Foundation (RCF). The original Funcube dongle did not cover any frequencies below 64 MHz, but the Funcube Dongle Pro+ added coverage from 150 kHz to 1.9 GHz with a gap between 240 MHz and 420 MHz.
In full disclosure, I’ve never owned a FUNcube Dongle Pro+, but I have used them on several occasions. I believe you would find that it is prone to overloading if you use a longwire antenna that’s not isolated from the dongle. In other words, during such use it seems to be subject to internally-generated noise. In my experience, the Pro+ worked best when hooked up to an external antenna fed by a proper coaxial cable.
To be clear, with the advent of SDRplay and AirSpy SDRs, the FUNcube Dongle Pro+ is no longer the budget SDR I would most readily recommend.
Still, the Pro+ is a very compact dongle that has a great history, and around 2012 really pushed the performance-for-price envelope. It still has many dedicated fans. No doubt, this product has had a huge influence on all of the sub $200 SDRs currently on the market, thus we owe it a debt of gratitude.
In 2016, after the remarkable success of the original RSP, SDRplay introduced the RSP2 and RSP2 Pro SDRs. The RSP2 is housed in an RF-shielded robust plastic case and the RSP2 Pro is enclosed in a rugged black painted steel case. In terms of receivers and features, the RSP2 and RSP2 Pro are otherwise identical
The RSP2 and RSP2 Pro provide excellent performance, three software-selectable antenna inputs, and clocking features, all of which lend it to amateur radio, industrial, scientific, and educational applications; it is a sweet SDR for $169 or $199 (Pro version). I know of no other SDRs with this set of features at this price point.
The RSP2 series has the same frequency coverage as the RSP1A. Of course, to most of us, the big upgrade from the SDRplay RSP1A is the RSP2’s multiple antenna ports: 2 x 50-Ohms and one High-Z port for lower frequencies.
The SDRplay RSP2 with plastic enclosure.
As with all of SDRplay’s SDRs, their own application, SDRuno, will support up to 16 individual receivers in any 10 MHz slice of spectrum.
Bottom line? Since the RSP2 has multiple antenna ports––and two antenna options for HF frequencies and below–the RSP2 is my choice sub-$200 SDR to use as a transceiver panadapter. (Spoiler alert: you’ll also want to check out our summary of the recently released $279 RSPduo from SDRplay in this review or in Part 3 of our primer before pulling the trigger on the purchase of an RSP2 or, especially, an RSP2 Pro!)
Sometimes big surprises come in small packages. That pretty much sums up the imminently pocketable AirSpy HF+ SDR.
The HF+ has the footprint of a typical business card, and is about as thick as a smartphone. Despite this, it’s a heavy little receiver––no doubt due to its metal alloy case/enclosure.
AirSpy’s HF+ was introduced late 2017. Don’t be surprised by its footprint which is similar to a standard business card to its left, this SDR is performance-packed!
Not to dwell on its size, but other than my RTL-SDR dongle, it’s by far the smallest SDR I’ve ever tested. Yet it sports two SMA antenna inputs: one for HF, one for VHF.
The HF port is labeled as “H” and the VHF port as “V”
When I first put it on the air, my expectations were low. But I quickly discovered that the HF+ belies its size, and is truly one of the hottest sub $500 receivers on the market! Its HF performance is nothing short of phenomenal.
The HF+ is not a wideband receiver like the FunCube Dongle Pro+ or RSP series by SDRplay. Rather, the HF+ covers between 9 kHz to 31 MHz and from 60 to 260 MHz only; while this is a relatively small portion of the spectrum when compared with its competitors, this was a strategic choice by AirSpy. As AirSpy’s president, Youssef Touil, told me,“The main purpose of the HF+ is [to have] the best possible performance on HF at an affordable price.”
Mission accomplished. Like other SDRs, the HF+ uses high dynamic range ADCs and front-ends but enhances the receiver’s frequency agility by using high-performance passive mixers with a robust polyphase harmonic rejection structure. The HF+ was designed for a high dynamic range, thus it is the best sub-$200 I’ve tested for strong signal handling capability on the HF bands.
You can very easily experiment and customize the HF+ as well; easy access to the R3 position on the circuit board allows you to make one of several published modifications. “During the early phases of the design,” Yousef explains, “R3 was a placeholder for a 0 ohms resistor that allows experimenters to customize the input impedance.” He goes on to provide in-depth clarification about these mods:
“For example:
A 300 pF capacitor will naturally filter the LW/MW bands for better performance in the HAM bands
A 10µH inductor would allow the use of electrically short antennas (E-Field probes) for MW and LW
A short (or high value capacitor) would get you the nominal 50 ohms impedance over the entire band, but then it’s the responsibility of the user to make sure his antenna has the right gain at the right band
A custom filter can also be inserted between the SMA and the tuner block if so desired.”
Since the introduction of the HF+, it has been my recommended sub-$200 receiver for HF enthusiasts. If you want to explore frequencies higher than 260 MHz, you’ll have to look elsewhere. Also, note that longwave reception is not the HF+’s strong suit––although modifications to R3 and future firmware upgrades might help with this! Additionally, the HF+’s working bandwidth is 660 kHz; quite narrow, when compared with the RSP series, which can be widened to 10 MHz.
AirSpy also designed the free application SDR# to take full advantage of their receivers’ features and performance.
The AirSpy application (a.k.a. SDR#)
Installing the HF+ and getting it on the air is pure plug-and-play. While SDR# is a powerful and fluid SDR application, I actually use SDR Console more often, as it supports most of my other SDRs as well, and offers advanced virtual receiver and recording functionality.
If you’re an HF guy like me, the HF+ will be a welcome addition to your receiver arsenal. It’s a steal at $200.
If you haven’t gathered this already, it’s simply a brilliant time to be a budget-minded radio enthusiast. Only a few years ago, there were few, if any, enthusiast-grade sub-$200 SDR options on the market. Now there are quite a number, and their performance characteristics are likely to impress even the hardest-core weak-signal DXer.
Still, some hams and SW listeners reading this article will no doubt live in a tougher RF environment where built-in hardware filters are requisite to prevent your receiver from overloading. Or perhaps you desire truly uncompromising benchmark performance from your SDR. If either is the case, you may need to invest a little more of your radio funds in an SDR to get exactly what you want…and that’s exactly where I’ll take you November in the final Part Three of this SDR primer series. Stay tuned!
Stay tuned for more in Part Three (November).I’ll add links here after publication.
While I love the Panasonic RF-B65, the Voice of Greece and a St. Ambroise Oatmeal Stout: this combo can’t fight the persistent radio interference here at the condo.
Some of you might recall that I’m spending the months of August and September in a condo near Québec City, Canada. We love it here, though it does present some radio challenges. Unlike our rural/remote mountain home in the States, I’ve always had to cope with QRM (manmade radio interference) here at the condo. Not surprising.
I typically bring my PK Loop antenna–it helps lower the noise a tad and is easy to take out on our balcony for optimal reception. Lately, though, the QRM has been even worse on the balcony than inside the condo (more on that in a future post).
Some North American and European stations punch through the noise when propagation is favorable (especially the Voice of Greece and Radio Romania International) but there have been evenings where nothing could penetrate the wall of noise.
One way I escape the noise, of course, is to take my radio to a picturesque remote location for the afternoon or evening. It’s amazing the number of signals you can pull out of the ether when the noise floor is so low.
Back at the condo, though, there’s no easy way to escape the noise.
Or is there?
Impromptu DXpeditions
Perhaps 21st century problems require 21st century solutions.
This year–especially here at the condo–I’ve spent a great deal of time exploring the KiwiSDR network.
For those of you not familiar, the KiwiSDR is a self-hosted WebSDR which operates much like a mini U Twente WebSDR. KiwiSDR owners install their SDRs at home–or in other favorable locations–then share control of their SDR with the world via the the Internet.
Like the U Twente WebSDR, KiwiSDRs allow multiple simultaneous users to control the SDR independently of each other. Each KiwiSDR can allow up to four simultaneous guests (the U Twente WebSDR can allow hundreds of simultaneous users, but it’s also a university-supported bespoke SDR with fantastic bandwidth!).
Over the past few years, the KiwiSDR network has grown almost exponentially. There are Kiwi SDRs on every continent save Antarctica (someone remedy that, please!).
Each red pin represents a KiwiSDR installation.
Other than the fact that the SDR audio is piped through the Internet–and you can’t walk outside and adjust the antenna–there is no difference between using a KiwiSDR remotely or locally.
In fact, the KiwiSDR only has a web browser-based application, there is no downloadable application for local use. So quite literally, the experience of controlling and using a KiwiSDR locally or globally is identical.
And it’s so much fun! I browse the KiwiSDR network via the map above, select an interesting location, and virtually travel there for an impromptu DXpedition. I can travel to India, Italy, Japan, New Zealand, or Hawaii via the network and be back in time for dinner here in Canada without breaking a sweat or even using frequent flyer miles!
I’ve found that the combo above makes for an immersive experience. I use Bose Quiet Comfort noise-cancelling headphones paired with my iPad Air (which I have enclosed in a Zagg Rugged Book). With a reasonable Internet connection, it truly feels like I’m there.
Of course, you don’t need an iPad, or any special equipment. The KiwiSDR application works with pretty much any computer, tablet or smart phone that has a web browser. For the best experience, however, I would suggest connecting a good external speaker, bluetooth speaker or headphones.
I know many of you are thinking, “But Thomas! This isn’t real radio!”
But I would argue that it is real radio! It’s a real radio, connected to a real antenna that you’re simply controlling via the Internet with a web-based SDR application. Instead of the audio going through a sound card into your headphones, it’s going into a soundcard, piped through the Internet, then into your headphones.
Give it a try! You might find an impromptu DXpedition is the perfect remedy to your QRM and RFI blues!
Post readers: Any heavy KiwiSDR users out there? Or do you oppose using WebSDRs? What are your thoughts? Please comment!
Many thanks to SWLing Post contributor, Justin Patrick Moore (KE8COY), who is a radio host, radio enthusiast and musician. At my request, Justin has shared the following article excerpts from his blog that discuss the convergence of music and radio:
Imaginary Landscapes
The development of telecommunications technology and electronic circuits had a major impact on the creation of new musical instruments from the very beginning, but it was only in 1951 that a composer first got the idea that the radio itself could be used as a musical instrument. Since then the use of radio as a source for live, unpredictable sound, music, and voice has become commonplace across the genres of contemporary classical music, and various styles of electronic, rock and pop music. Using the radio as an instrument has become part of what composer Alvin Curran has called a “new common practice” and is just one of many methods being used to create the sonic backdrop of the landscape we now inhabit in this age of electronic multimedia.
“It’s not a physical landscape. It’s a term reserved for the new technologies. It’s a landscape in the future. It’s as though you used technology to take you off the ground and go like Alice through the looking glass.” John Cage wrote this about his series of Imaginary Landscape compositions. Imaginary Landscape No. 4 was first performed in 1951 and is scored for 12 radios played by 24 musicians, two on each radio, one to control the tuning, the other to control the volume. It is a great example of indeterminate music. The only guarantee about the piece is that no performance of it will never be heard the same way. This is guaranteed because John incorporates chance operations to determine how much the dials of each radio are to be turned by each performer. The novelty of each performance is also guaranteed by the nature of radio itself. Depending on the place and time of a performance, the things coming out of the radio speakers are going to be different. During its premier concert at Columbia University’s McMillin Theater those in the audience heard the word “Korea” over and over again, as well as snippets of a Mozart violin concerto, news about baseball, static, and silence. The performance took place around midnight and many of the stations in New York had already gone off the air for the night. Of course the silence never bothered Cage, who considered in an integral part of the experience. He had said that “silence, to my mind is as much a part of music as sound.”
Radio is the perfect medium for the diffusion of electronic music. The unpredictable sounds coming from radios are also a perfect source material. In many cases the production studios available at broadcast facilities made them the first laboratories for the scientific investigation of sound, for the sole purpose of making music, to be used by electronic music pioneers. Likewise these stations became the first to introduce electronic and other avant-garde music to the public. Such was the case with Westdeutscher Rundfunk, or WDR, the German public broadcasting institution located in Cologne. Their Studio for Electronic Music was the first of its kind in the world and became an epicenter for musicians working in the new medium. On the broadcasting side the WDR promoted new music through unique programming that included radio lectures, the playing of live and recorded music, and commissioning new works from composers working in the field.
As the world caught wind of the work being done at the WDR’s Electronic Music Studio, other radio stations and broadcasting corporations followed suit. NHK (Nippon HosoKyokai) in Japan built their electronic music studio in 1955, directly modeling it on the one at WDR. In 1958 the BBC created their famous Radiophonic Workshop. (I blame starting to watch Doctor Who as a ten year old, with its strange soundtrack and incidental music, for what became my lifelong fascination with electronic music.) The studio at NHK was just over ten years old when they invited Karlheinz Stockhausen over to work there and create two pieces for their airwaves.
When he arrived in Japan Karlheinz was severely jet lagged and disoriented. For several days he couldn’t sleep. That’s when the strange hallucinatory visions set in. Laying awake in bed one night his mind was flooded with ideas of “technical processes, formal relationships, pictures of the notation, of human relationships, etc.—all at once and in a network too tangled up to be unraveled into one process.” These musings of the night took on a life of their own and from them he created Telemusik.
Starting in the early 1960s Karlheinz Stockhausen composed several instrumental works which he called “process compositions”. These did away with traditional stave notation and instead used symbols including plus, minus, and equal signs that indicated the successive transformations of sounds that were otherwise unspecified or unforeseeable by the composer. In this way he brings elements of improvisation into the fold of Western classical music where the strict adherence to a fixed score left little room for interpretation by musicians. The scores in his process pieces don’t dictate specific notes or ways of playing but rather specify the way a sound is to be changed or imitated. Taking a cue from his studies of information theory Stockhausen created a way of writing music that is similar to computer programming. The program “determines the way information is processed while leaving the choice of information to be processed to the individual user.” (Maconie 1990, 156-157)
Stockhausen’s process pieces include Plus-Minus (1963), Prozession (1967), Kurzwellen, and Spiral (both 1968). Eventually they led to the text based processes of his intuitive music compositions in the cycles Aus den sieben Tagen (1968) and Für kommende Zeiten (1968–70).
Kurzwellen (Short waves), the third of the process pieces also marks the beginning of Stockhausen’s magnificent voyage using shortwave receivers as a medium for musical transportation. The formal procedures in Kurzwellen (and the others) are fixed. Stockhausen thinks of these not as fixed in the way Beethoven’s Fifth symphony is a fixed piece that will sound the same to a greater or larger degree from recording to recording or performance to performance. Only the processes themselves are fixed. These are indicated primarily by plus, minus, and equal signs and constitute the composition.
Yet the sound materials themselves, like the knobs on the tuners, are variable. The process scores can be followed and bring about very different results each time they are played and yet somehow still sound similar. The sound material coming in from the shortwave radios is unpredictable. Yet the prescribed processes themselves can be heard from one performance to another as being “the same”. These developments in musical theory and practice make live performances and new recordings exciting events.
Remember the American television game show To Tell The Truth? This very long-running show challenged four celebrity guests and viewers to identify the real “central character” in the midst of two impostors.I was reminded of this game show when attempting to tell the difference between the original and recently updated versions of C. Crane’s CCRadio-EP Pro receiver when viewing the front panels. If there’s a difference, I can’t spot it! You need to turn around the radios to see the new EP-Pro’s key feature: switchable 9 kHz/10 kHz tuning steps.
The only clue to the newest version of the CCRadio-EP Pro is the 9/10 kHz tuning switch on the back panel.
I recently met with a good friend and radio hobbyist from Oregon to compare a few selected portable radios, FSL (Ferrite Sleeve Loop) antennas, and the newest low-noise Wellbrook ALA100LN module that was introduced just a few weeks ago. I was particularly interested in a head-to-head match-up of my friend’s original EP-Pro versus my newly arrived EP-Pro (9 kHz/10 kHz steps) version.
I’m looking forward to Thomas’ usual thorough review of the new CCRadio-EP Pro, but I want to offer a few observations of medium wave tuning after my time with the two models:
On very weak daytime MW signals, the radios are equally sensitive except on higher frequencies where the new model excels to a moderate degree. It’s enough of an advantage to make the difference between catching an ID or not on a low, DX-level signal.
The new EP-Pro feels more accurate–and simply more enjoyable–to tune, thanks to the elimination of false “peaks” surrounding the main signal. This is a BIG plus for the new radio, and frankly the CCRadio-EP should have performed this way from the start. Kudos to C. Crane for correcting this problem, but I can understand why the original version was brought to market with the odd tuning quirk. It isn’t a deal breaker for most non-DXing purchasers.
I could not find an instance of soft muting on either radio. I listened for a while to signals barely above the noise floor, and never did audio “cut in and out” suddenly, a clue to soft muting. Both receivers are very useful for chasing weak MW stations…but the new version is highly preferred for ease of tuning because of the lack of false audio peaks.
With the tuning working way it should, medium wave channels “snap” in and out as you slowly tune. This took a little getting used to, but after a while I began to appreciate the sense of exactness with the newest CCRadio-EP Pro.
Fast excursions up or down the band (either radio) will blank the audio, recovering when you stop tuning or slow down. I believe this is simply a case of exceeding the AGC’s recovery time, not soft muting. It’s easy to live with, but granted the effect is not one of smoothness as found on traditional, non-DSP analog receivers. Successful DXing takes a slower approach anyway when scanning the band; casual listeners may be more annoyed by either version of the radio if they are used to very quick knob-cranking.
The Twin Coil Ferrite “AM Fine Tuning” control works well on both units, and gives significant gain to weak signals on either extremity of the band. I love this feature; it makes digging out the weak ones a lot more fun!
So, should you buy the newest CCRadio-EP Pro with the 9 kHz/10 kHz steps?
If you already own a CCRadio-EP Pro and are fine with the false tuning peaks and have no desire for the 9 kHz MW step option–keep your radio! Only on high band does the new model have a sensitivity edge. Especially don’t make the jump if you’re a casual listener and listen only to a handful of local stations, or a single distant station.
If you do not own a CCRadio-EP Pro yet, but are in the market, definitely buy the newest version. Be aware that you can only be assured of getting the newest model if you purchase directly from C. Crane. Amazon does not yet carry the newest version according to some reports.
If you’re a radio junkie and just have to have both…go ahead…we understand!
I also made a short video comparison of the new EP Pro versus the top-ranked Panasonic RF-2200 on medium wave:
https://www.youtube.com/watch?v=zbZ-06uBsNs
Guy Atkins is a Sr. Graphic Designer for T-Mobile and lives near Seattle, Washington. He’s a regular contributor to the SWLing Post.
Many thanks to SWLing Post contributor, Gary DeBock, for sharing the following guest post:
Supercharging the XHDATA D-808
Installation of High Performance AM and LW Loopsticks
By Gary DeBock, Puyallup, WA, USA, September 2018
Introduction
As a stock receiver the Chinese-made D-808 AM-LW-FM-SW-AIR portable is a very capable performer, with AM reception superior to that of any current Ultralight model, and impressive FM reception as well. The radio was certainly “inspired” (to use a generous term) by the C.Crane Skywave SSB model, which coincidentally was manufactured in the same part of China by C.Crane’s Redsun partner—with the first units going out the door a few months before the D-808 came into existence.
Because foreign intellectual property is routinely copied in China with no punishment from the government, XHDATA essentially had the chance to copy all the good points in the Skywave SSB design and improve upon its weak points as well. The only precaution that XHDATA took after this wholesale design appropriation was to forbid direct shipments of the D-808 from China to North America—presumably to avoid a copyright lawsuit by C.Crane. As such, the first D-808 models were sold to the rest of the world around January of 2018 at a price about half that of the Skywave SSB, while North American DXers were told that since the model couldn’t be shipped to the USA or Canada, they were out of luck.
Of course some D-808 models did make it into North America, where it was found to be a very capable portable with astonishing value for the price. Finally around March, an enterprising Chinese eBay seller came up with a plan to ship the model to North America through Israel, thereby skirting around XHDATA’s direct shipment prohibition. As of late August this eBay seller (harelan ecommerce) has already sold 62 of the D-808 models this way, even though he charges a premium for shipment to North America. Whether this single supply source will continue to serve North American customers is currently unknown, but out of the 7 models that I have purchased from him there hasn’t been a single D-808 model with any issues– despite the apparent lack of any manufacturer’s warranty offered on the radio.
Despite the D-808’s rather dubious design pedigree there is no doubt that the Chinese engineers (or reverse engineers?) did a superb job in creating an awesome radio for the money. Besides directly copying the Skywave’s SSB design and controls, XHDATA also made significant improvements, including a longer loopstick (providing clearly superior AM sensitivity), a much more powerful audio amplifier (correcting a serious shortcoming in the Skywave SSB) and a much lower price (about half that of the $169.99 Skywave SSB, for models shipped outside North America). Another great advantage for someone wishing to perform this loopstick upgrade are the perfectly located, highly accessible Litz wire connections on the RF circuit board—apparently used by the Chinese engineers to conveniently test out various loopsticks, and retained in the final product. The radio’s high quality construction and survivability in adverse conditions were proven repeatedly over the summer here, with the model surviving accidental exposure to a 104 degree (43 degrees C) car trunk temperature, exposure to moderate rain, repeated travel bumps, and use as the main receiver during a 9-day DXpedition to a plunging ocean side cliff in Oregon state. The 3.7v lithium-ion rechargeable battery provides superior run time for extended DXing sessions, and is included in the D-808 shipping package, along with a USB cord to charge the battery, a plug-in wire antenna (for FM,SW and AIR), a vinyl carrying case, and a pretty basic English instruction manual.
One thing you will NOT find supplied with the D-808 is a warranty card– either in the shipping box, or online. This is pretty standard practice in China, incidentally, where concepts like refunds and warranties aren’t generally part of customers’ expectations. This doesn’t necessarily mean that XHDATA won’t repair obvious problems in a new D-808, but it does mean that they aren’t assuming the obligation to do so. I have heard from one North American purchaser who received a new D-808 with a defective speaker, and he is still waiting for the model to be repaired (after paying the shipping charge to send it back to China). Each individual purchaser must decide whether or not this lack of any warranty is a deal breaker. But if you are looking for a final reason to perform this loopstick transplant, why not consider the fact that you will not be violating any manufacturer’s warranty by doing so??
Realistic Expectations
Although this 7.5” loopstick upgrade will certainly make your D-808 far more sensitive than the stock model on Medium Wave or Longwave, it is not designed to compete with large (2’ sided or larger) inductively coupled box loops, or any of the new FSL antennas. The sensitivity upgrade will boost the D-808’s MW band weak-signal performance up to the level of classic portables like the ICF-2010 and RF-2200; however, and since the D-808’s DSP-enhanced selectivity will generally exceed that offered by these classic portables, the overall DXing capability in the AM mode could be considered slightly greater. The D-808 does have SSB capability, although it lacks the SSB tuning convenience offered by the ICF-2010 and RF-2200. It also lacks the ICF-2010’s superb Synch detector, a big advantage in weak signal DXing. But in portability, versatility and DXing value for the price, the “Supercharged” D-808 is a real winner.
Project Overview
This construction article will provide the builder with step-by-step instructions to upgrade the XHDATA D-808’s loopstick to a much more sensitive, externally-mounted 7.5” Medium Wave or Longwave loopstick replacement. Both the Medium Wave and Longwave 7.5” loopstick designs have been thoroughly tested and proven effective in actual DXing by hobbyists other than the author, and as long as the instructions are followed carefully, this relatively inexpensive modification will provide a major improvement in the D-808’s weak-signal reception capability.
This modification project involves close-order soldering on the D-808’s circuit board, and should only be attempted by builders with reasonably good eyesight, good hand coordination and soldering experience. The project also calls for the use of a precut plastic loopstick frame to attach the antenna to the top of the D-808’s top back cabinet surface, and the construction of this precut plastic frame requires either the use of a 12” (or larger) power miter saw, or some rather lengthy cutting with a hacksaw. Use of a power miter saw SHOULD NOT be attempted by those without serious power tool experience! The author assumes that only qualified power tool operators will attempt to use a 12” miter saw to cut these frames quickly, and that other builders who wish to construct them will use a hacksaw. As such, only basic cutting instructions are provided for the 12” power miter saw users, while detailed instructions are provided for the hacksaw users. To assist builders who are not qualified to use power tools, the author has prepared a LIMITED number of these precut plastic loopstick frames on a power miter saw, which will be offered at cost to these builders on a first come, first served basis.
A final warning is in order concerning the step of gluing the precut plastic loopstick frame to the D-808’s top back cabinet surface. Although this step is not dangerous, it is pretty tricky. Since the superglue “grips” very rapidly, you will only get one chance to ensure that the frame is straight, and centered on the D-808’s top cabinet surface. Do yourself a favor, and make multiple “dry runs” to practice this important step before applying the glue! Failure to take this step seriously will probably result in a crooked loopstick frame—which will hold the antenna just fine for DXing purposes, but which will be an eternal reminder to the DXer (and everyone else) of the hazards of haste.
Construction Parts Required
This 7.5” loopstick D-808 construction article will guide you through the assembly of either a 7.5” Medium Wave loopstick D-808 or a 7.5” Longwave loopstick D-808, so make sure that you order the parts necessary for construction of your chosen model. The picture above shows the parts that will be necessary for construction of either model, but the Litz wire and 7.5” ferrite rod components differ according to whether you are building the Medium Wave or Longwave model.
A) XHDATA D-808 Receiver, currently available to North American purchasers (for $112.87 + $10. Click here to search eBay.
B) Scotch brand “Extreme” strapping tape (any size roll)
Miscellaneous: One packet of Duro Super Glue (.07 ounce size), solder, 25w (low heat) soldering iron, hacksaw (or power miter saw), screwdriver set, sandpaper, needle nose pliers, diagonal cutters
D-808 Radio Preparation
Before starting the modification give the radio a thorough test on all bands, ensuring that all the stock model functions work properly, and that there are no issues with the display, speaker, headphone jack, battery or charging system. It’s also a good idea to run a daytime DX band scan on the AM or Longwave band (for whichever band you plan to construct an upgrade loopstick) and document the results—to use as a benchmark for the upgrade loopstick’s performance.
Step-By-Step Construction
Antenna Frame and 7.5 inch Loopstick Preparation
1) Refer to the photo below. Using the “Supercharging the Tecsun PL-380” article (posted at http://www.mediafire.com/file/du3sr5cd9thqvau/7.5inch-LS-PL380.doc/file or available directly from the author) carefully prepare the orange loopstick antenna frame according to construction steps 1-9, EXCEPT note that the lower (glue surface) edge of the antenna frame should be cut to a length of 5 3/4” (147mm), NOT 5” (127mm) as described in the PL-380 transplant article. Pay close attention to the safety precautions concerning power tool usage, and DO NOT attempt to use a power miter saw unless you have SERIOUS power tool experience!
2) If you are constructing an AM (Medium Wave) loopstick, follow construction steps 10-16 in the PL-380 transplant article to construct the antenna. If you are constructing a Longwave loopstick, follow construction steps 10a-16a in the PL-380 transplant article to construct the antenna. If you are constructing both loopsticks, MAKE SURE that the ferrite rod and Litz wire are only used in the antennas for which they were designed. Mixing up these items is very easy, and such a mistake will make both loopsticks perform like clunkers.
3) After construction of either the AM or Longwave loopstick, follow the instructions in steps 29 and 30 of the PL-380 transplant article to install a piece of 3 1/8” (79mm) shrink tubing, EXCEPT note that this length is slightly longer than the 3” (76mm) length called for in the PL-380 article.
4) Refer to the photo below for the following three steps. [NOTE: Although this photo shows the AM (Medium Wave) loopstick, the procedures in this step are the same for the Longwave loopstick, although the position of the rubber hose lengths and clear vinyl inserts will be closer to the ends of the ferrite rod]. Carefully slide the length of 3 1/8” shrink tubing into the position shown, ensuring that there are no Litz wire kinks or bends inside the shrink tubing.
5) Take the two 3/4” (19mm) clear vinyl inserts and slide them onto the ferrite rod ends, twisting them up against the border of the Scotch “Extreme” tape ends to lock the tape in place under the vinyl inserts. Ensure that the clear vinyl inserts do not touch any Litz wire leads or coil turns.
6) Slide the 1” (25mm) lengths of rubber heater hose over the clear vinyl inserts until the appearance of the loopstick resembles the above photo. Ensure that the rubber hose sections also do not touch either the Litz wire leads or any coil turns. Finally, place the completed loopstick in a safe place until it is called for in Step .
Radio Disassembly
7) Refer to the photo above for this step. Remove the battery from the radio, and using a Jeweler’s Phillips screwdriver of the correct size, remove the six identical screws in the positions shown (NOTE: These screws have a tendency to stick inside their slots, even when the slots are turned upside down. If you cannot remove all six screws it’s not a major problem, but at least ensure that the screws are completely loose in their slots, and that you don’t lose any of them during the remaining steps). Grasp the tuning knob, and pull it out horizontally in a completely straight manner to remove it from the radio. Ensure that the battery, tuning knob and all removed screws are placed in a safe place until the radio is reassembled.
8) Carefully separate the front and back cabinet sections and place them down in the position shown in the photo below. Note that the front and back sections of the radio are connected by a ribbon wire plug-in system– ensure that this plug remains securely inside its slot at all times, and that no great stress is placed on the speaker wires.
9) Refer to the close up photo below, and note the position of the two Litz wire soldering points on the circuit board (in the lower right corner of the photo). Using diagonal cutters, cut the two Litz wire leads at the position shown, UNLESS you wish to salvage this stock loopstick for other projects—in which case you should desolder the entire lengths of the Litz wire leads from the circuit board at the positions shown in the lower right corner (NOTE: The stock loopstick is of a fairly good design, and has an inductance that would be compatible with any DSP-chip Ultralight radio, providing an AM sensitivity boost in the process).
10) Refer to the photo below. Using a flat Jeweler’s screwdriver with a 1/16” blade, carefully probe around all four sides of the stock loopstick to break all of the glue bonds. Work slowly and carefully around the perimeter of the ferrite rod, including the plastic covers on each end. Once most of the glue bonds have been broken the ferrite rod will begin to shift around as you break up the few remaining bonds, but until this point work slowly and patiently to break up the glue.
11) Refer to the photo below. Using the flat Jeweler’s screwdriver, once all of the glue bonds have been broken and the ferrite rod is loose in its slot, lift the ferrite rod out of its slot on one side by prying up under the plastic cover on the end of the ferrite rod. Ensure that the Litz wire leads have either been cut or desoldered from the circuit board, then grasp the ferrite rod with your fingers and pull it completely out of the slot with a slight twisting motion.
12) Remove the wrist strap, and refer to the photo below. Carefully pick up the two sides of the radio and place the back section in a vertical position as shown, with a heavy flat weight (barbell, or other heavy flat item) pressing up against the back cabinet section to keep it in a vertical position. Ensure that there is adequate, even lighting on the top cabinet section for the gluing process in the next step, and that the back cabinet surface will not shift around as you make the gluing “dry runs,” and perform the actual gluing of the loopstick frame to the top of the cabinet.
13) Take the previously prepared orange plastic loopstick frame, and ensure that its bottom glue surface is completely smooth and flat, with no uneven ridges on the edges of the glue surface (remove these with fine sandpaper, but ONLY on the ridges, and not on the rest of the flat glue surface). Using a damp paper towel, wipe the top cabinet glue surface and the loopstick frame glue surface to remove any dust or debris, then wipe them again with a dry, clean paper towel to ensure that they are both completely dry.
Take the loopstick frame and gently slide the frame over the top cabinet surface to ensure that both surfaces are smooth and flat. Refer to the photo at the top of the next page. Ensure that there is even, bright lighting on the top cabinet surface, and make several “dry runs” to place the loopstick frame in the exact center of the top cabinet surface (with 1/16”, or 1.5mm of space between the frame ends to the cabinet ends), and also 1/16” (1.5mm) of overhang above the front edge of the cabinet’s glue surface (NOTE: if you wish to simplify the process by lining up the front edge of the loopstick frame with the front edge of the cabinet’s glue surface it will still provide an acceptable result, but you will need to do some minor sanding of the whip antenna’s plastic slot post, as shown in the photo below. In either case, make repeated “dry runs” with the loopstick frame to practice placing it in the exact center of the top cabinet’s glue surface, since you will only get one chance to place it in the proper center position once the superglue is applied.
NOTE: The back of the loopstick frame has a beveled surface to permit full operation of the radio’s whip antenna after the frame is glued on the top of the cabinet surface. If the loopstick frame is glued with a 1/16” (1.5mm) overhang in front of the front edge of the cabinet surface then the whip antenna should have enough space for free operation. The alternative is to glue the two front edges lined up with each other to simplify the gluing process, in which case minor sanding may be required on the whip antenna slot post, as shown in the photo below.
14) After making multiple “dry runs” and becoming familiar with accurate placement of the loopstick frame on top of the cabinet, refer to the photo at the top of the next page. After once again ensuring that the back cabinet section will not shift around during the gluing process, take the Duro superglue packet and apply a thin (1/8”, or 3mm) bead of glue along the center of the cabinet’s glue surface, extending it 5 1/4” (133mm)long, with equal spaces on both ends (as shown). While sighting the two sides place the loopstick frame carefully down in the correct center position as practiced previously, with the 1/16” overhang if desired. If satisfied with the position, press down on the frame to lock the two surfaces together securely. Usually the frame may be shifted around slightly within 1 or 2 seconds of placing it on the superglue, so use this brief time to promptly shift the frame to a straight position, if necessary. After a couple of seconds, though, you will need to be satisfied with whatever position the frame has ended up with (regardless, it will still hold the loopstick just fine, for DXing purposes).
15) After the loopstick frame is securely placed and locked on top of the D-808’s cabinet surface, place downward pressure on the loopstick frame along its length in order to ensure a tight glue bond throughout the entire top cabinet surface. Continue this process for about one minute, and sight both ends of the loopstick frame to ensure that they are both completely flat against the D-808 cabinet.
16) Inspect the front and back edges of the loopstick frame’s border with the D-808 cabinet for any glue seepage, and if any is found, remove it promptly with the 1/16” flat Jeweler’s screwdriver blade. Glue should not be allowed to run past the frame edges. This completes the process of gluing the frame to the D-808 cabinet.
7.5” Loopstick Installation
17) [NOTE: The installation procedures of the Medium Wave (AM) and Longwave loopsticks are identical, except that the plastic tie wraps and rubber hose sections are closer to the ends of the ferrite rod in the Longwave version. The following photos are for the Medium Wave (AM) version, but Longwave loopstick builders should follow the same steps, while referring to the Longwave model photo in the “Operation” section as a guide]
Refer to the photo below. Carefully take the previously prepared 7.5” loopstick and hold it in the position shown—in its slot, centered in the middle of the orange antenna frame, with the shrink tubing and Litz wire leads running down to the left. Take the two plastic tie wraps and install them in the position shown, centered over the rubber hose sections on the loopstick, while ensuring that no Litz wires or shrink tubing is bound under the plastic tie wraps.
18) Refer to the photo below. Lay the two cabinet sections down flat as shown, ensuring that the Litz wire shrink tubing is in the exact position shown (if it isn’t, carefully slide it along both Litz wires until it is in this exact position). Carefully thread one Litz wire end through the empty wrist strap hole, then thread the other Litz wire end through the hole, as shown. Finally pull on the two Litz wires together from the right while guiding the end of the shrink tubing into the empty wrist strap hole, and pull a short section of the shrink tubing through the hole (as shown) to protect the Litz wire insulation from friction damage.
19) Refer to the photo below. Using the previous procedure to install shrink tubing (which is described in the PL-380 transplant article) install a 2.5” (63mm) length of shrink tubing over the two Litz wire ends, and shift the shrink tubing into the position shown in the photo. After this is done cut the two Litz wire leads to the lengths shown in the photo (NOTE: make sure that the ends of both Litz wires are cleanly cut, not frayed and at the minimum diameter before attempting to insert them into the shrink tubing. The process is much easier when the Litz wires pass smoothly through the shrink tubing).
20) Refer to the close up photo below. Using a low heat (25w) pencil-type soldering iron, remove the two stock Litz wire leads at the positions shown, taking care not to use excessive heat, or touch the adjacent components. Ensure that the new Litz wire leads are at the length shown when the leads are in a horizontal position throughout the cabinet, and cut them to this length if they are not.
21) NOTE: When tinning the 250/46 Litz wire it is essential that all of the individual Litz wire strands be completely soldered together for a length of at least 1/4” (6mm), with bright, shiny solder around the circumference of the Litz wire ends for this minimum (1/4”) length. The Litz wire must be heated with a clean, hot soldering iron around its circumference in order to melt the solder properly for this step]
Refer to the photo above. Pull the Litz wires up out of the previous position, and place a clean rag underneath them (on top of the circuit board) to completely protect the circuit board from any solder which might accidentally drop down during the tinning process. Using your hot 25w soldering iron melt a generous amount of solder on its tip, and work the soldering iron tip slowly and patiently around the circumference of each Litz wire end until there is a bright, shiny solder length of at least 1/4” (6mm) in a cylindrical pattern at the end of each Litz wire. When doing this, take great care not to allow any solder to drip down onto the circuit board below (i.e., make sure that your rag completely covers the circuit board). The final appearance of your Litz wire lead ends should resemble those in the photo.
22) When your Litz wire lead ends resemble the photo above, cut the soldered portion down to a length of 3/16” (5mm) and observe the appearance of the end of the Litz wire. It should have a bright, solid circular shape, with no gaps or individual Litz wires showing. If not, reheat the end of the Litz wire while adding some solder, and repeat this step.
23) NOTE: The Litz wire connection points on the circuit board are surrounded by other important components. It is important to avoid solder drips on these components, or solder bridges to their leads. Solder the Litz wire leads down at an angle to avoid these surrounding components, and use the minimum amount of heat and solder to ensure good electrical connections)
Refer to the close up photo above. Following the precautions described, solder the two Litz wire leads down onto the circuit board at an angle, as shown in the photo. After soldering, make a close visual inspection to ensure that there are no solder bridges across the Litz wire connections, or nearby components. The remaining length of the Litz wire leads should be routed in a horizontal manner to the wrist strap hole.
24) Carefully pick up the front and back cabinet sections, and hold the back cabinet section fairly close to the front section (as the radio would normally be oriented, when assembled). Refer to the photo below, and carefully insert the “Fine Tuning” control thumbwheel from the front cabinet section into its slot on the back cabinet section in a sideway movement. This will allow you to fully close the front and back cabinet sections in the next step.
25) Refer to the photo below. Pick up the two cabinet halves and carefully snap them together (this action should not require any great force). Place the radio face down in the position shown (with a soft surface underneath, for protection), and using the Jewelers Phillips screwdriver of the correct size, carefully screw in the six screws that were loosened previously, starting with the screw near the whip antenna post (you should pick up the radio temporarily and hold the two cabinet sections together tightly at this corner, as you do this).
After all six screws have been retightened take the Tuning control knob and press it back onto its shaft in a straight horizontal motion. Finally, reinstall the battery and battery compartment cover to finish up the reassembly.
TESTING AND OPERATION– MEDIUM WAVE MODEL
This 7.5” transplant loopstick is designed to provide a major boost in sensitivity from 530-1700 kHz, and if the antenna is working properly both the weak signal reception and the radio’s nulling capability should be greatly enhanced. It is normal for the antenna to receive more background noise on the low band frequencies, although the sensitivity boost should be substantial across the band.
The construction design of the orange antenna frame allows full usage of the whip antenna for checking SW parallels of MW-DX stations, although if you chose to glue the antenna frame flush with the front of the back cabinet surface to simplify the gluing process, you may need to sand the whip antenna slot post slightly to allow free movement of the whip antenna (see step #13).
In the photo above, some of the important controls for Medium DXing are highlighted. The AM Bandwidth control allows you to choose multiple DSP filtering selections to enhance selectivity as desired, with the narrowest filtering (1 kHz) providing both the sharpest selectivity and the best weak-signal sensitivity. However this 1 kHz setting also has the poorest audio fidelity, with the higher audio frequencies typically cut off by the DSP filtering. As such, for regular DXing far away from strong local pests, the other AM Bandwidth settings may be more suitable. The Direct Frequency Entry key allows you to manual enter in any MW frequency, to which the radio will shift once the numbers are pressed on the keypad. The Tuning knob has three different modes, which can be toggled by pressing the knob horizontally. The first mode is tuning in either 9 kHz or 10 kHz steps (depending on which of these step you have selected), while the second mode is tuning in 1 kHz steps. The third mode is to lock the frequency in place. Pressing the knob again will return the tuning to 9 or 10 kHz steps.
The XHDATA D-808 has multiple display functions, which can be toggled by the indicated key. The first option is the temperature in either Centigrade or Fahrenheit (depending on your pre-set preference), while the second option is the alarm time. The third option is the current time (which you need to set according whether you prefer UTC or local time), while the fourth option is the received signal strength in both dBu and dB.
The supplied 3.7v lithium ion battery has superior run time, and may be easily charged using the supplied USB cable to either a computer or AC outlet (with the appropriate adapter). As reported in various posts throughout this year, the D-808 model has rugged construction with an excellent record of survival under tough conditions, including hot summer days, moderate rain exposure and extended usage as the main receiver during a 9-day ocean cliff DXpedition in Oregon—performing flawlessly at all times.
Conclusion
It is the author’s sincere hope that this “Supercharged” D-808 model will bring you a lot of DXing fun during travel, as well as at other times. When conditions are good you should never underestimate this enhanced model’s potential of receiving awesome DX beyond your expectations—as an example, here is the stand-alone performance of a 7.5” loopstick D-808 in receiving 1017-A3Z in Nuku’alofa, Tonga (10 kW at 5,632 miles/ 9,063 km) on the ocean cliff near Manzanita, Oregon at 1301 UTC on August 8th of this year:
Not only Tonga is received, but even the Australian horse racing station 1017-2KY in Sydney (5 kW at 7,630 miles/ 12,280 km) is received as a weak co-channel in the middle of the recording. My hope is that you all will be so lucky with your new Supercharged D-808!
73 and Good DX,
Gary DeBock (in Puyallup, WA, USA)
Absolutely amazing! Thank you for taking the time to put this procedure together and describing the process in such fine detail, Gary! Hats off to you!
Click here to read all of Gary DeBock’s posts on the SWLing Post.
Many thanks to SWLing Post contributor, Rich (WD3C), who writes:
Was browsing the Anon-Co site the other day and noticed they are selling replacement rotary encoders for the some Tecsun models.
As I have a PL-660 with a bad encoder decided to order one and replace it. The cost was only $5.95 with free shipping and took about 6 days from Hong Kong.
With a bit of un-soldering the replacement only took about 20 minutes and now works better than new, as the original was always a bit temperamental.
Wow–thank you for pointing this out, Rich! I didn’t realize so many parts were available including knobs, encoders, antennas, back stands and battery doors–essentially, all of the parts that are prone to damage or loss.
