Saturday, September 20, 2008

News From The TWIAR Labs

Had a call from the TWIAR Labs today. I was informed that they are working on a exclusive codec that will enable us to offer our news service audio in a format ready to be fed to any D-STAR repeater via the ethernet link.

They tell me it may be ready soon, no target date was given but when the new codec is ready, TWIAR will be the first D-STAR enabled amateur news service. More details will be coming soon.

Sunday, September 7, 2008

TWIAR Now On Twitter

This Week in Amateur Radio is now on Twitter, the web site dedicated to quick and fast messages for mobile users or those wanting to keep up with friends and family with short updates.

Using the new Twitter feed, TWIAR will send links to news as well as updates to the web site (file uploads, downtime, new features, etc.).

Users can set up their PDAs or cell phones to receive these updates as they are posted, or use the RSS feed to send updated to their RSS readers.

Please visit our Twitter feed at http://www.twitter.com/twiar.

As a side note, some of our staff are also Twitter, N2FNH, K4HSM, W9WSW.


Saturday, September 6, 2008

A Week At The TWIAR Studios

Here is a quick look at a week here at the TWIAR studios.

Sunday is usually a recovery day from the production process. Newsgathering (web browsing) is usually done (as it is every evening), and I sometimes actually get home from work to hear International on WBCQ. (If the propagation is good).

Monday evening usually involves downloading material from Leo. Editing begins on Leo's segment. Newsgathering continues.

Tuesday evenings activities include finishing the editing on Leo's segments (two are produced, one for International and one for the ham services). Anchor rotation schedules are reviewed, and e-mails for anchor participation are sent. Newsgathering continues.

Wednesday evening involves the production of segments for International, which usually includes, the final story edit, the closing edit with new production music beds, and the selection and "sweetening" of the music used in the program. Newsgathering for the ham service continues. Anchor e-mail responses come in. Any new anchor interviews, remote interviews and logistics are usually done on Wednesday evenings.

Thursday evening finds N2FNH uploading his popular "Random Access Thought" segments for both the broadcast and ham services. These are downloaded from our server, and master editing is done for International. News files from the previous weeks ham service are selected for the program. Incidental wave files are edited in along with PSA's and promos, and the final master is saved.

International is edited on Adobe Audition in three multi-track segments. The first segment produced is actually the last heard. the final half hour of the program is reverse assemble edited. That means the first piece placed on the file is the closing, and work proceeds backwards from the closing to the bottom of the hour. The middle segment is produced normally. Times for the middle and bottom segments are noted. The beginning of the program is produced last, multi-track, and us usually cut to time the entire program. We aim to hit 59:45 if possible.

The final master wav file is saved and then converted to MP3 and WMA files. These are tagged and then uploaded to our server for release to the world, and uploaded to WBCQ. Back up copies are burned on to archive CD.

While the program is uploading, contact is made with all anchors for reading for the ham service on Friday evening, and the newsgathering continues.

Friday evening is devoted to the ham service. All incoming news audio is downloaded (if I have to work late, I take the laptop to Penara Bread and use their open wi-fi during a work lunch hour to get a little ahead).

In the studio I fire up an old Digital 486 laptop running DOS and use an old text editor in Procomm (remember that?) to write about 20 to 26 news stories. This usually winds up being between 900 to 1200 lines.

The finished script is e-mailed to the anchors and uploaded to our server in case of e-mail failure. Meanwhile, the following segments are edited for air: Handi-Hams, KK5DO Satellite, The Ancient Amateur Archives (if needed that week), and the propagation report. Around 1am eastern Vern Jackson WA0RCR phones his convention/contesting segment in to the studio. This is recorded through our phone patch, and edited.

Saturday morning finds me downloading the files from the anchors off the server. The promo is produced and uploaded. Both the full version and the headline version are produced simultaneously. When both versions of the program are finished and saved as master wav files, they are converted to MP3, AAC, WMA, and low bit rate RealAudio. These are then tagged and uploaded to the server usually around 5pm.

The editing process usually takes most of the day. Back up archive CD's are burned for posterity.

From there, Dale our file guy in Iowa downloads and re-packages the files and uploads them to our site server for you to download, or receive via our RSS feed.

Local playout of TWIAR sometimes occurs on Saturday evenings.

REPEAT PROCESS . (and I haven't had a weekend off in 15.46 years)

How We Play TWIAR On The Air In Albany

Here in TWIAR's home base, we air our news service on our flagship machine, the K2CT repeater, operated by the Albany Amateur Radio Association, on 145.190mHz. From our studios on the outskirts of Albany, it is about a twenty air mile trip to the repeater, which is situated on a mountain top in the Town of New Scotland. Our secondary, or back-up repeater is located in the same area, and is the KA2QYE machine on 147.375mHz, and is used when the primary machine is busy with club activities, or down for maintenance.

We air the full version of This Week in Amateur Radio here in our home market. (Actually the one hour Headline News version has never aired here)

Up first is the re-editing of the audio file to drop in the K2CT idents in each break point on the program. These voice id's not only identify the repeater, it also identifies our originating transmitter. This file is either saved as an mp3, or we play the original wav file.

The completed file is then loaded into our playout computer. This is a dedicated box. It is an old Dell 500 mhz desktop running Windows XP with about 250 megs of memory. The computer has two soundcards. The first, is an internal Soundblaster, and the second is an external Creative USB interface.

I use several different radio automation/live assist programs to play out the audio files. The software allows independent cueing of several audio channels while one is on the air. The audio output of the computer is fed into two Behringer DI boxes, which isolate the computer from the rest of the audio chain, helping to avoid ground loops.

The output of the DI boxes feed a dedicated Behringer UB-1622 12 channel mixer. This board receives two independent channels from the playout system, audio from a 30 second sampler, and a mic input if needed.

The sampler (and also the playout system) have CW id's of the local transmitter and the repeater, to insert into segments that run longer than the FCC's ten minute amateur ID rule. If a segment runs long, the system inserts the CW over the program audio. This ID method is independent from the repeaters own ID on the local controller.

The output of the mixer is then fed into a 24 channel analog equalizer. This device is set up for unity gain, and allows for audio sweetening. Next in the chain is a Behringer DSP processor. This adds in just a little bit of reverb which brightens the audio on the air. It also tends to bring up the average modulation. From the DSP, we go into an Optimod equivalent processor. This device splits the audio into several different bands (ie 20 to 500hz, 500-3000, etc) and adds compression and limiting on each band before reassmbling the audio at its output. A Behringer Auto-Com monitors the average audio levels from the Optimod, and has a high peak limit if needed.

The last box before we hit the transmitter is an old Shure audio master. The Shures only purpose in the chain is to drop the audio from line level to mic level for input to the transmitter.

Our transmitter, which by now has a few thousand transmit hours on it is an old Kenwood TR-7950. This particular radio, operated at low power, and equipped with a three inch external fan on the heat sink, will run forever. In fact, this particular radio has proved so reliable, we have two stand-by 7950's that we got years ago, that are still on the shelf.

The radio is fed into an eleven element Cushcraft VHF beam. The output of the repeater is monitored locally so that in the event of an emergency need for the machine while the news is played out, we can drop.

Next time, I'll go into how This Week in Amateur Radios ham service is put together each week.

Till then..73 and enjoy the programs.

Audio Software In The TWIAR Studios

Back in time, during the early days of TWIAR, all was analog. Segments from the single announcer would arrive on cassette tape. All of the needed segments were assembled onto a master open reel tape, producing the final program. Later on, we started to embrace digital as a few news anchors would send in low bit rate audio on our dial up connection. These were then
assembled with the analog cassette segments on our Revox open reel deck for local air, and for telephone line playout on the satellite. The program went completely digital around 2000.

Some folks have been asking what hardware and software we for audio production, and for final mastering of This Week in Amateur Radio International, and our two amateur news services, This Week in Amateur Radio, and This Week in Amateur Radio Headline News.

Here is a quick list of software we currently use:

Adobe Audition - This is our workhorse program. All final cuts and mastering is done on this program. Although we have versions 3.0, 2.0 and 1.5, most of the staff likes the older 1.5 version the best. You can't beat it for multi-tracking, and it runs on old computers.

Sony SoundForge 9.0 - This program is used for phase checking our broadcast program. After the rough cut is done, the final mix is pulled into SoundForge. This program features a phase meter which is useful when producing stereo programs that will air on mono radio stations. Phase cancellation is to be avoided at all costs.

We also have in-house, Steinbergs Wave-Lab (has some really cool metering), Pro Tools, Audacity, CuBase, and a couple of other editors.

All of these programs are run on various vintage PC's in the studio. The studio has four external Western Digital USB drives on the network which hold all production audio, such as production music beds, sound effects libraries, and our music library. (Our music library, which is mostly top 40 oldies, is now over 100 gig) All computers are fed into a virtual KVM system. We use Dell flat panel monitors, and nVidia, and ATI video cards. All audio D/A and A/D is done "outside the box" on M Audio Quattro 24 bit interfaces. All networked together (including our office PC) using Linksys routers. That is, when the machines feel like talking to each other.

International is produced on an old, dumpster rescued, HP LPR Netserver. Dual 450 Intels. We had to re-build this box. It has an Nvidia 6200, and USB 2.0 cards. Running XP Pro on 356 meg of memory. Yeah its a little slow. It also has an external CD/DVD Burner. The only problem with this machine is it uses all proprietary memory, and uses HP SCSI drives. We have no back up for these, plus their small, on the order of 9 gig. It has two drives.

TWIAR's ham services are produced on a box we built up a few years ago. It's on an ASUS motherboard, AMD 1.2gig processor, 526 meg of RAM, XP Pro. Nvidia video card and it uses the second M-Audio box.

Both of these audio workstations can be patched into the analog studio equipment. More on that in a future post.

On hot stand-by in the studio is another box we built up about four years ago, it too uses an ASUS mother board with an Intel 1.2 processor and about 526 ram. This system fills in when one of the systems above is sick.

Playout of the TWIAR ham service here in the Albany market is done using an old Dell 500 mhz box with an internal Creative sound blaster,and an external Creative USB audio interface. Exactly how we play out here locally will take another posting coming up in the future.

Personally, if I have to record something for the either service (I usually do the special event stations and sometimes the propagation forecast on the ham service) I use...are you ready...Cool Edit 96. Yeah..it's old, but that's habit for you.

Although you can do almost any special effect in software, we still have racks of audio gear here at the studio. More on this in a future post.

History Of W2XBS

I recently received a very nice letter from K1AAG, George Dupee of Palm Beach Gardens, Florida, regarding an article he came across on the history behind my call sign, W2XBS.

George's article is taken from a Boston Red Sox e-mail newsletter.

"On this day in 1939, the first televised Major League baseball game was televised on station W2XBS, the station that was to become WNBC-TV. Announcer Red Barber called the game between the Cincinnati Reds and the Brooklyn Dodgers at Ebbets Field in Brooklyn, New York. At that time, television was still in its infancy.

Regular programming did not yet exist, and very few people owned television receiving equipment. As a matter of fact, there were only about 400 in the New York City area. Not until 1946 did regular network broadcasting catch on in the United States, and only in the mid 1950's did television sets become common in the American household.

In 1939, the Worlds Fair -- which was being held in New York -- became the catalyst for the historic broadcast. The television was one of the fair's prize exhibits, and organizers (and RCA) believed that the Dodgers-Reds doubleheader on August 26th was the perfect event to showcase Americas grasp on the new technology."

This was not the first letter regarding the history behind my call sign that I have received over the years. I did a little more research, and here is a little more history behind W2XBS.

What is now WNBC-TV traces its history to experimental station W2XBS, founded by the Radio Corporation of America (a co-founder of the National Broadcasting Company), in 1928. Originally a test bed for RCA's Photophone theater television, it used the low-definition mechanical scanning system, and later was used mostly for reception and interference tests. W2XBS left the air sometime in 1933 as RCA turned its attention to cathode ray tube (CRT) television research at its Camden, New Jersey facility, under the leadership of Dr. Vladimir Zworykin. The station originally broadcast on the frequencies of 2.0 to 2.1 megahertz. In 1929, W2XBS upgraded their
transmitter and broadcast facilities to handle transmissions of 60 vertical lines at 20 frames per second, on the frequencies of 2.75 to2.85 megahertz.

It was 1935 before the CRT system was authorized as a "field test" project and NBC converted a radio studio in the RCA Building (now the GE Building) in New York City's Rockefeller Center for television use. In mid-1936, small-scale programming began to air to an audience of some 75 receivers in the homes of high-level RCA staff, and a dozen or so sets in a closed circuit viewing room in 52nd-floor offices of the RCA Building. The viewing room often hosted visiting organizations or corporate guests, who saw a live program produced in the studios many floors below.

RCA began transmission in 1928 W2XBS on 2.0 to 2.1 megahertz from a location at Van Cortlandt Park. In 1929, W2XBS moved their transmitter and broadcast facilities to to the New Amsterdam Theatre Building in New York, and began broadcasting 60-line pictures on thefrequencies of 2.75 to 2.85 megahertz.

NBC, on June 29, 1936, began field-testing television transmissions from W2XBS, using Zworykin's all-electronic television system. These transmissions were received on experimental receivers scattered throughout the New York area. In 1937, scanning had reached 441 lines, and television programming was extended to include pickups remote from the studio.

The National Broadcasting Company, as a service of RCA, has been in the vanguard of television pioneering and since the earliest days of experimentation, when about the best that could be produced were barely recognizable pictures of Felix the Cat on screens the size of a playing card, or smaller. NBC'S first experimental, on-the-air broadcast was on July 7, 1930.

In June 1931, an RCA-NBC television transmitter was installed on the top of the Empire State Building and W2XBS began regular television and facsimile operations in December of that year. Experimental broadcasts continued and in the next few years, during the course of extensive development field tests, the transmitted picture was increased from 120, to 240, and then 343 lines, respectively.

In the course of extensive field tests, NBC and RCA engineers succeeded in increasing the quality of transmitted pictures to 120 lines, to 240 lines, and then 343 lines.

It was 1935 before the CRT system was authorized as a "field test" project and NBC converted a radio studio in the RCA Building (now the GE Building) in New York City' Rockefeller Center for television use. On June 29, 1936, NBC began field-test television transmissions from W2XBS to an audience of some 75 receivers in the homes of high-level RCA staff, and a dozen or so sets in a closed circuit viewing room in 52nd-floor offices of the RCA Building. The viewing room often hosted visiting organizations or corporate guests, who saw a live program produced in the studios many floors below. Eventually these transmissions were received on about 200 experimental RR-359 receivers scattered throughout the New York area.

Shortly after NBC began a semi-regular transmission schedule in 1938, DuMont Laboratories announced TV sets for sale to the public, a move RCA was not yet contemplating. In response, NBC ceased all TV broadcasting for several months.

As a result of the continued tests, scanning was stepped up to 441 lines, and television programming was extended to include pickups remote from the studio. NBC's mobile television vans, then a great curiosity, appeared on the streets of New York for the first time on December 12, 1937.

In 1939, RCA introduced television to the American public at the World's Fair. At the same time, the station began regularly scheduled broadcasting, with both studio and remote programming.

The station began commercial television operations on July 1, 1941, the first fully-licensed commercial television station in the United States. The call letters were changed to WNBT and it originally broadcast on channel 1. Soon after signing on that day, WNBT aired the first television commercial. The Bulova Watch Company paid $9 for a commercial aired during a baseball game of the Philadelphia Phillies at the Brooklyn Dodgers.

As W2XBS, the station scored numerous "firsts", including the first televised Broadway drama (June 1938), live news event covered by mobile unit (a fire in an abandoned building in November 1938), live telecast of a Presidential speech (Franklin D. Roosevelt opening the1939 New York World's Fair), the first live telecasts of college and Major League Baseball (both in 1939), the first telecast of a National Football League game (also in 1939), the first telecast of a National Hockey League game (early 1940) and the first network telecast of a political convention (the 1940 Republican National Convention).

During World War II, RCA diverted key technical TV staff to the U.S. Navy, who were interested in developing a TV-guided bomb. WNBT's studio and program staff were placed at the disposal of the New York Police Department and used for Civil Defense training. Public programming resumed on a small scale during 1944.

The station began commercial television operations on July 1, 1941, the first fully-licensed commercial television station in the United States. The call letters were changed to WNBT and it originally broadcast on channel 1. Soon after signing on that day, WNBT aired the first television commercial. The Bulova Watch Company paid $9 for a commercial aired during a baseball game of the Philadelphia Phillies at the Brooklyn Dodgers.

During World War II, RCA diverted key technical TV staff to the U.S. Navy, who were interested in developing a TV-guided bomb. WNBT's studio and program staff were placed at the disposal of the New York Police Department and used for Civil Defense training. Public programming resumed on a small scale during 1944.

In 1946, the station changed its frequency from channel 1 to channel 4 after VHF channel 1 was removed from use for television broadcasting. (Channel 4 was previously occupied by WABD before moving to channel 5.) The station changed its call letters on October 18, 1954 to WRCA-TV (for NBC's then-parent company, RCA) and on May 22, 1960, Channel 4 became WNBC-TV New York.

Monday, September 1, 2008

This Week in Amateur Radio International On WBCQ


As most of you know, our short wave service, This Week in Amateur Radio International, is broadcast each Sunday at 4pm eastern time, on WBCQ on their 7.415mHz transmitter. The station is located in Monticello, Maine.

<--- The map is WBCQ's 7.415mHz propagation projection.

Here is some information on the station: WBCQ broadcasts 50,000 watts on each of its four international shortwave transmitters on 5.110, 7.415, 9.330 and 15.420 MHz. Our broadcasts serve North, Central and South America and the Caribbean. WBCQ has been offering access to the airwaves since signing on the worldwide shortwave bands in 1998. WBCQ broadcasts a wide variety of content, including spiritual and religious programming, eclectic musical shows, and intriguing and entertaining live talk radio. WBCQ makes airtime available at really reasonable rates. If you are at all interested in radio, shortwave broadcasting, or just have something you would like to say on the air, give them a call. Visit them at www.wbcq.com