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President Franklin Roosevelt called December 7, 1941, “a date which will live in infamy”–the day Japan attacked Pearl Harbor, Hawaii by air.
This morning, I was reminded of an off-air recording I made in 2013 of the pirate radio station, Radio Free Whatever. Please enjoy this bit of history from the Post archive:
USS Shaw exploding in Pearl Harbor on December 7, 1941
For your listening pleasure: one hour, seven minutes of the pirate radio station, Radio Free Whatever.
I recorded this broadcast on December 15 2013, starting around 2:40 UTC, on 6,925 kHz AM. This broadcast was a tribute to WWII and Pearl Harbor and contains news clips and music from the same time period. I believe my recording begins about five or so minutes into their broadcast.
In memory of Peal Harbor, Spec-Ops Brand is hosting a flash sale on three of their packs. The backpack geek in me wants to spread the word.
As I’ve mentioned in previous posts, Spec-Ops packs are of excellent quality, mil spec, widely used in the military, backed by a lifetime warranty, and made here in the United States.
$59.95 for their Recon Ruck Ultra pack is a steal!
[…]In the longer term, the report raised RNZ’s wish to divest from broadcasting infrastructure.
“RNZ currently owns a significant property portfolio and other related equipment required to support its AM radio services,” it said. “While the AM audience is declining, the cost of maintenance and upkeep of the property, buildings and AM equipment is increasing.”
The report went on to say RNZ was sitting on potentially lucrative land, that could be used for housing.
“RNZ considers it is now time to work with stakeholders to develop plans to, either partially or completely, exit AM broadcasting over time,” the report said.
Thompson said RNZ’s plan to sell of its transition sites would likely take more than a decade. It had just invested in a new AM tower in Titahi Bay, Wellington, that he said cost “millions”.
Through its network of transmission towers, RNZ was also responsible for broadcasting other radio stations including Newstalk ZB and iwi radio stations.
“We think we’re an audience and content organisation, not an infrastructure organisation,” Thompson said.
If RNZ was to sell or close its AM towers, he said the Government would need to make the call. The other broadcasters would also need to be consulted.
Just last month, the little radio that I found most exciting this year hit the market: the C. Crane CC Skywave SSB.
Why the appeal for me? Frankly, since I do most of my portable radio listening while traveling, and since I typically travel out of one bag, having a compact radio with performance and features is an absolute must in my world. Up to this point, the original CC Skywave is the radio I often choose when traveling, as it packs so many useful features: AM, FM, Shortwave, AIR band, Weather Radio, and like any good travel radio, clock, alarm, and sleep functions, lacking only SSB mode. So it goes without saying that I was excited to see its newest edition.
The CC Skywave SSB
What follows is an account of my experience evaluating CC Skywave SSB production units, and a brief summary of their performance.
My hope is that this summary review will help readers with purchase decisions. Note that this is merely preliminary to an extensive, unabridged review that will appear in a future issue of The Spectrum Monitor magazine, then in the SWLing Post the following month.
Pre-production Skywave SSB
As many readers know, I was sent a pre-production model of the Skywave SSB for evaluation this summer.
As I mentioned in my sneak peek and reiterated to a number of inquisitive readers: I never base a product review or comment upon pre-production radios. I don’t comment about the performance of the pre-production model for an obvious reason: pre-production radios are quite simply not the versions that ship to customers upon the product release.
Now that the production model has been in the wild for a few weeks, I feel more at liberty to talk about my experience with the pre-production Skywave SSB.
In short: I have been very pleased, indeed, with the pre-production model’s performance. In terms of features, it is a nice incremental upgrade from the original Skywave. In terms of performance, it’s also tweaked in the right direction. As an early adopter of the original Skywave, I’ve been truly enthusiastic about this evaluation pre-production model.
All the notes I took while evaluating the pre-production Skywave SSB were made for C. Crane so they could hopefully implement any changes or address concerns prior to starting the first production run. But the truth is, I found the pre-production model in my possession to be quite solid, so my suggestions were minor.
Putting my pre-production model aside, I ordered an actual production unit on C. Crane’s website just like everyone else.
C. Crane kindly dispatched my unit as soon as they received the first production batch from the factory so I could get to work on the full review.
Quirks with the first production units
I was eager to get started on the review of the Skywave SSB, so as soon as I received it, I did what I always do: compared it with other radios.
I make my comparisons, by the way, at least fifty yards from my house to separate the radios from any inadvertent sources of local noise.
Production Radio #1
My first comparison was with the Digitech AR-1780 and the original CC Skywave. I quickly noted that the Skywave SSB was very slightly less sensitive than the other radios. I had tested the pre-production unit enough to know that the Skywave SSB’s performance should at least be on par with the original Skywave.
Upon careful listening, I discovered the production unit had a very faint, internally-generated whine on some of the shortwave bands; when tuned to marginal signals, this whine manifested itself as variable background noise. Between signals it was audible as a faint background whine, hardly noticeable. With that said, the whine was most notable while tuning––since the Skywave SSB mutes between frequency changes, the whine was most conspicuous during audio recovery.
The pre-production unit had no trace of an internally-generated whine. Audio was very clean in comparison.
Here’s a sample of the first production radio being tuned down from 10,000 kHz in 5 kHz tuning steps:
I contacted C. Crane promptly, and to their credit, they immediately dispatched another unit from inventory, via UPS Next Day, along with a return label to send my faulty unit back to their engineering team.
Production Radio #2
The second unit arrived while I was on Thanksgiving vacation, but was sent to me directly at my hotel. The day I received the replacement Skywave SSB, I put it on the air. The first listening session with it, alone, revealed that this unit did not have the internally-generated whine, however, this unit had issues with sensitivity. All of my comparison receivers were outperforming this Skywave SSB on the shortwave broadcast bands. When I compared it with the pre-production Skywave SSB unit and the first production unit, the second production unit was about four to five S-units less sensitive. Odd.
I sent both production radios back to C. Crane with detailed notes and sample recordings. Their engineering team confirmed my findings and started looking into the variations in QC and double-checking their inventory to make sure none shipped with these problems.
Production Radio #3
A few days later, I was sent a third production unit. After putting it on the air, I immediately noticed the same faint noise characteristics of my first full production unit, which is to say, the notorious whine.
Once again, I contacted C. Crane. This time, I requested that no less than three radios be sent to me, and they kindly expedite the request.
Production Radios #4, #5, and #6
Yesterday, I tested all three radios. What follows is a quick assessment of those radios:
Performance
In a nutshell, the three production units I tested yesterday performed better than my second and third production radios on all bands. Strictly in terms of sensitivity, these were on par with the pre-production unit. Very good.
But with that said, even the last three production units I received had internally-generated noises that I couldn’t help but notice. Disappointing.
At this point, I must assume these noises are prevalent throughout the first production run since all but one of the six CC Skywave SSB production units I tested have it. Meanwhile, the only one that didn’t have the noise had serious sensitivity issues.
Noises
Yesterday, I spent two full hours searching for birdies (internally generated noises) and other anomalies on the three CC Skywave SSB production units I received Monday. Each radio’s noise location varied slightly (within 20-40 kHz). The following locations are roughly the average of frequencies:
Birdies
Birdies are a fairly common occurrence among sensitive receivers, and the CC Skywave SSB has about an average number. The birdies I noted are outside the space where I do my broadcast listening:
2,305 kHz
9,220 kHz
11,520 kHz
Background audio whine/tone
All of the production units (save Radio #2) have a very slight audio whine present––either via the internal speaker or headphones––on certain portions of the spectrum.
In my first full production unit, I believe this whine may have slightly affected the unit’s overall sensitivity. On the last three production units, it didn’t seem to have as much of an impact on overall sensitivity.
The whine is still there, however, and occasionally when tuned to a weak signal within one of these zones, other faint sweeping noises could be detected in the background.
Sometimes it’s even more noticeable when the broadcaster is weak and is located within one of the whine zones. Here’s an example of 10 MHz WWV time station comparing the original Skywave with the Skywave SSB. Note that yesterday we had terrible propagation due to a geo storm, so WWV was very weak indeed.
Listen for the sweeping tones:
Here are the frequency ranges where I noted the background whine:
7,830 – 8335 kHz
8,610 – 8,690 kHz (note: very faint)
9,770 – 10,415 kHz
11,585 – 11810 kHz
Another oddity is a noise I found prevalent on CHU Canada’s 7,850 kHz frequency. I’m guessing it may be due to the combination of a DSP birdie on top of a relatively strong broadcaster.
Here’s a video comparing the original Skywave with one of the production models:
I noted no birdies or noises on the mediumwave band. The FM, AIR band, and Weather frequencies perform beautifully.
Summary: The bad news––and the good
At the moment, it appears the first production run of the CC Skywave SSB has some challenging QC issues. Therefore, unfortunately, I can only recommend it at present if you’re willing to check your unit very carefully for any of the internally-generated noises I noted above.
If, however, you’ve already purchased a Skywave SSB and have noticed the noises, then please contact C. Crane. I’ve been a C. Crane customer for many years and I’m confident they will take care of your issue.
This being said, the truth is, I sympathize with C. Crane. It must be challenging to get things right and truly consistent on the first production run of a radio––especially on a tiny compact radio like the Skywave SSB. It must be especially hard to keep noises out of the audio chain when so much is crammed into such a tiny package.
I fully suspect these issues will be sorted out in the second production run which, of course, I will test and review.
But the good news, and it’s sincerely good news, is this: if C. Cranecan produce a CC Skywave SSB as good as the pre-production unit, they’ll truly have a winner. So let’s keep our fingers crossed that C. Crane can do it again…and again.
I recently discovered a bi-weekly experimental arts-and-culture program called The Organist at KCRW. The latest episode is simply brilliant for those of us who love radio nostalgia.
Here’s the description for Part 1:
This week, we’re sharing a highly subjective journey through one narrow, eccentric, corridor of radio advertising, as heard through the ears of one man. His name is Clive Desmond. Clive is a radio advertising producer, writer, and composer. He’s been doing it for more than thirty years, and he’s won some of the industry’s top awards. Through those years he’s been sort of a zelig figure: you can find his face somewhere in the margins of every one of the medium’s key aesthetic revolutions. He’s rescued beautiful forgotten nuggets of radio history, and he’s delicately arranged them into a glittering associative chain—a constellation of jingles and spots that somehow all add up, to a life: The life of Clive Desmond as heard through the radio.
From the Isle of Music, week of December 10-16
Rebroadcast due to poor propagation during original broadcast
For the week of November 26-December 2, we will feature some interpretations of part of Schubert’s Trout Quintet lead by Cuban pianist Frank Fernandez along with an part of an intriguing album from the 1980s, Leningrado, featuring moments by several of Cuba’s Jazz elite from the time.
Four opportunities to listen on shortwave:
1. For Eastern Europe but audible well beyond the target area in most of the Eastern Hemisphere (including parts of East Asia and Oceania) with 100Kw, Sunday 1500-1600 UTC on SpaceLine, 9400 KHz, from Kostinbrod, Bulgaria (1800-1900 MSK)
2. For the Americas and parts of Europe, Tuesday 0100-0200 UTC on WBCQ, 7490 KHz from Monticello, ME, USA (Monday 8-9PM EST in the US) NOTE THAT UTC CHANGES BUT EASTERN US TIME IS STILL THE SAME.
3 & 4. For Europe and sometimes beyond, Tuesday 1900-2000 UTC and Saturday 1200-1300 UTC on Channel 292, 6070 KHz from Rohrbach, Germany.
Uncle Bill’s Melting Pot, December 10
Boricua Classics
Episode 40 takes us to Puerto Rico for some of our favorite
bands of the isla del encanto in the 60s and 70s.
Sunday, December 10
2300-2330 UTC (6:00PM -6:30PM Eastern US) on
WBCQ The Planet 7490 KHz shortwave from the US to the Americas and parts of Europe
I’m very pleased to have received the 8th edition of John Figliozzi’s Worldwide Listening Guide (WWLG), the latest, most updated version of the excellent guide I’ve often reviewed.
SWLing Post readers know that I’m a huge fan of the Word Radio TV Handbook (WRTH); it’s my go-to guide for radio frequencies and schedules.
Figliozzi’s Worldwide Listening Guide is my go-to for programming and content, not only helpful on the shortwaves, but especially handy when tracking online content.
Indeed, the WWLG is a unique guide–there’s nothing quite like it on the market. As I’ve said, you may want a copy of the WWLG in your shack, especially alongside your computer or Wi-Fi radio.
WWLG: The Content DXers Guide
Like many SWLs, I’m something of a “Content DXer:” I love chasing obscure programming––news, documentaries, music, and variety shows, anything the broadcasting world has to offer. For this, I often turn to Wi-Fi radio. Wi-Fi radio offers the discerning listener the ability to track down fascinating regional content from every corner of the globe––content never actually intended for an international audience.
Digging into local content via a WiFi radio isn’t nearly as challenging or fun (for me, at least) as scanning the shortwave bands in search of elusive weak signal DX or pop-up pirate radio station. Though my WiFi radio offers an easy and reliable way to “tune” to online content, the actual content discovery part is quite difficult.
Truth is, there’s so much content out there–tens of thousands of stations and shows–it’s hard to know where to start!
This is where the WWLG comes in: Figliozzi exhaustively curates more than 4,000 programs (!), indexing their airing times, stations, days of broadcast, program types, frequencies, and web addresses. Additionally, he sorts the programs by genre: arts, culture, history, music, sports, and more. And Figliozzi also includes a well-thought-out directory of at least forty genres. In short, this directory has helped me not just locate, but identify, programming I would never have known about otherwise.
Frankly, I’m not sure how Figliozzi manages to curate such a vast assortment of programming. But I’m happy that he does, and especially, that he offers it for the SWL’s benefit––!
As I’ve said many time before, the WWLG has become a permanent reference book in my shack, alongside my trusty WRTH. There’s a surprising amount of information packed into this slim, spiral-bound book…enough to keep even a seasoned content DXer happy for years.
The 8th edition of Worldwide Listening Guide can be purchased here: