Contents

1. Introduction
2. Studio chain in a typical air station
3. Digital Mixing Console
4. Hard disk based recording system
5. FM Transmitter
6. BEL HMB 163 MW Transmitter
7. Parallel operation of transmitter
8. Transmission line
9. Antenna Tuning Unit (ATU)
10. Antennas
11. Conclusion
12. Transmitter photos

Page 1 of 55
 1.
Introduction
Prasarbharti (INDIA’S PUBLIC SERVICE BROADCASTER) is
responsible for public service broadcasting in India through All India
Radio and Doordarshan to inform, educate and entertain people to ensure
balance development of broadcasting in the country. All India Radio has
been a distinctive part of the Indian way of life since 1937. Doordarshan is
broadcasting programmers’ reflecting the spirit of India in all its hues
since 1959.

AIR has evolved over the year a three tier system of broadcasting
namely national, regional and local to cater to the needs of the audience
through a large number of centers in the country. These provide news,
music, spoken word and other programmes in 24 languages and 146
dialects to almost the population of the country.

 All India Radio has emerged as one of the largest broadcasting

networks in the world.
 At the time of independence there were six radio stations with 18
transmitters covering merely 11% population and 2.5% area of the
country.
 Low power to super power transmitters are working in MW, SW and
FM bands to serve the home including external service.
 Today 232 radio stations & 374 transmitters are able to reach
91.79% area of the country covering. 99.14% of population.
 In-house production of quality programmes by all stations to cater
the need of listeners around the country.
 Installation of 100 Watt FM transmitter/relay centers to ensure the
reach of radio to the population living in remote uncovered areas
viz. Northeast, J&K, Himachal Pradesh & Uttarakhand etc.
 32 Radio Channels available on Prasar Bharti free to air DTH
platform “DD Direct Plus.

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History of Gwalior station
All India Radio, GWALIOR has entered the 54th year of its service now. The
station is situated in Gandhi Road near the Railway Station, in Gwalior. The station
caters to Gwalior, Bhind, Morena, Shivpuri, Datia, Guna and Sheopurkalan District of
Madhya Pradesh and fringes of U.P. and Rajasthan.

The Station was inaugurated on 15th August 1964 by Maharani Vijya Raje
Scindhia of Gwalior Palace. AIR, Gwalior was started working as a relay center on
15th August, 1964 with its 5 KW MW BEL HMB- 104. Further more 10 KW MW
transmitter was replaced by 2 x 10 KW MW BEL HMB-163 and commissioned on
31.12.95 on 216.45 meter wave length (1386 KHZ).

The FM Transmitter was inaugurated on 04th March 2019 by Shri Narendra

Singh Tomar Hon’ble Union Cabinet Minister of Parliamentary Affairs, Mines, Rural
Development and Panchayati Raj, Shri Munnalal Goyal MLA of Gwalior and Shri
Vivek Narayan Sejwalkar Mayor of Gwalior.

The FM Transmitter was 5 KW ( Innovaction Symphony TRD 5K ) and

Commissioned on 11.02.2019 on 101.8 Mhz.

The FM Transmitter is Running for Relay Vividh Bharati, Mumbai Only.

The city Gwalior rich in history, prosperous in culture and master in music. The
prosperity of art, culture and music to takes Gwalior to the dizzy heights. Gwalior
reserves the honour of being a city which produced the Legends like Tansen, Haddu
Khan, Hassu Khan and more recently Hafiz Ali Khan, Bala Saheb Punchhwale Guruji,
Krishna Rao Shanker Pandit and Ustad Amjad Ali Khan and in literature stalwarts like
Nida Fazli, Jagannath Milind, Virendra Mishra, Janisar Akhtar, Mukut Bihari Saroj and
Akhar Nazmi are just the few to reckon with.

The Transmitting Centre is situated on National Highway (NH-3) (Agra-Mumbai

Road) at Rairu village 18 Kms. away from Gwalior Railway Station. The Longitude and
Latitude of Studio and Transmitter are 78 degree 11 minutes and 24 seconds, 26
degree 12 minutes and 48 seconds and 78 degree 6 minutes and 54 seconds 26
degree 17 minutes 4 seconds respectively.

The Studio setup consisted of Talk Studio, Music Studio, Control Room, Read
over Room, Dubbing Room, M.I.Room, with a central Air Conditioning system.
Subsequently, Read over room has been converted into playback studio in the year
1986.

Studio and Control Room

The Station is having a Type-I R studio, which consists of one Talk Studio with
an Announcers booth and sound lock and playback Studio. Control Room, Recording-
Cum Dubbing Room and Music Studio with Announcers booth sound lock and
M.I.Room.

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 The Talk Studio is provided with two microphones over discussion table.
Newly Installed SITC of Studio Console & Digital Cabling, On Air 1500 Series, 12
fader Digital Production Console of STUDER make in this studio. These new facilities
in Talk Studio have been provided in November 2016. One Hard Disc based
Recording systems was introduced in the year 2004, It has been replaced with
upgraded System WINDOW-7 under Studio Refurbishing Project during year 2015.
One no. Announcer Microphone, Two nos. CD Player and One no. digital phone in
console installed in this studio. This studio has been used for recording of talks,
discussions and for regular Phone-in-Programmes and transmission.

The Music Studio is provided with five microphones in Artist Hall. Newly
Installed SITC of Studio Console & Digital Cabling, On Air 1500 Series, 12 fader
Digital Production Console of STUDER make in this studio. These new facilities in
Music Studio have been provided in November 2016. Two Hard Disc based Recording
systems were introduced in the year 2004, Both HDBRS System replaced with
upgraded NEW HDBRS and New Microphones have been installed under Studio
refurbishing Plan. One no. Announcer microphone also installed in this studio. This
Studio has been used for recording Music programmes and seminars, discussions
etc. during the year.

The Playback Studio is provided with Newly Installed SITC of Studio Console
& Digital Cabling, On Air 1500 Series, 12 fader Digital Transmission Console of
STUDER make in this studio. These new facilities in Playback Studio have been
provided in November 2016. Two Hard Disc based Recording systems were
introduced in the year 2004, One of them HDBRS System replaced with upgraded
NEW HDBRS and New Two nos. Announcer microphone have been installed under
Studio refurbishing Plan. Two CD Player installed in this studio and used for
transmission, One of them CD Players replaced with Profession CD Player under the
Studio Refurbishing Plan. This studio has been mainly used for regular transmissions.

The Control Room is provided with Newly Installed SITC of Studio Console &
Digital Cabling, On Air 1500 Series, 12 fader Digital Switching Console of STUDER
make . These new facilities in Control Room have been provided in November 2016.
One Hard Disc based Recording system has introduced in the year 2004. It has been
replaced with upgraded System WINDOW-7 under Studio Refurbishing Project during
year 2015.To avoids the fluctuation due to power supply failure Two Nos. UPS of
3KVA install keeping as stand by. An OPTIMOD Audio Processor is also installed to
limit Audio level. An UPS of 10 KVA is also centrally installed to supply essential
power to all studio and C/R.

The Recording-cum-Dubbing Room is provided with Newly Installed SITC of

Studio Console & Digital Cabling, On Air 1500 Series, 6 fader Digital Dubbing Console
of STUDER make. These new facilities in Recording-cum-Dubbing Room have been
provided in November 2016. Two HDBRSwere introduced in the year 2004. One no.
of New HDBRS installedwith upgraded System WINDOW-7 under Studio Refurbishing

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Project during year 2015. One no. of Keltron Dubbing Console also installed in this
studio. This studio has been mainly used for regular RN Recording and Dubbing.

The 128 Kbps Digital Leased Line Link is provided for Programme
transmission between studio to Transmitter is in use for regular transmission. It is
working satisfactory.

The F.M. Link of 20 Watt Transmitter (DB Electronica KE-20) with Receiver
CVFU link is being used for Standby transmission purpose. On the frequency of
KV/FM has been set to 101.2MHz.
STL (Moseley Make) commissioning work has been done on 31.03.2018 for
programme transmission between Studio to Transmitter Rairu through Repeater
(Installed in FM building at HPT DD campus in Fort Gwalior). It is in used for regular
transmission.

The Centralized Emergency lighting system has been provided and

maintained in the Studio area.

As a standby for power supply a 30 KVA Diesel generator has been

provided at Studio.

EQUIPMENTS IN STUDIO
HDBRS: All HDBRS Updated regularly by Antivirus Program using in Studio. It
should be cleaned and dust free for smooth working.

Consoles: These should be cleaned and dusted every day.

CD players: These should be cleaned and dusted every day.

Microphones and Stands: These should be lightly dusted and cleaned every
day. Careful handling of the microphones is necessary as the slightest carelessness
may damage it considerably. The mechanical operation of the microphone stands
and boom should be checked up daily and the fixing screws tightened. All highly
polished parts of the stands should be polished with French chalk once a month. Dull
finished surfaces should be cleaned with wax polish at the same time.

Panels: All equipment panels should be cleaned and dusted every day with soft
cloth. Painted surfaces should be cleaned and wax polished once a week. Crinkle
finished surfaces can not be wax polished and should be attended to be rubbing with
a piece of soft cloth lightly soaked in some thin oil.

ITEMS NEEDED FOR GENERAL STUDIO MAINTENANCE

 Some good brand of furniture and floor polish.
 A good brand of cleaning powder.
 Washing soap.
 Rough duster for scrubbing linoleum with cleaning powder and water.

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  Muslin Cloth
 Vacuum cleaner
 Dry distemper (Ivory)
 Some small pieces of clean Celotax
 Sand paper number 100.
 Oil paints and distempers of different shades as used in the studios.
 French Chalk
 Cobweb Brushes
 Calcium chloride for ‘Breathers’.
 Metal Polish
 Some thin oil and V-seline for light machines

A ‘Cleaning kit box should be maintained for carriage of the above material.

TRANSMITTING CENTRE
The Transmitting station is situated on National Highway-NH-3 (Agra-Mumbai
Road) at Rairu village, 18 kms Away from Gwalior Railway station.

All India Radio, Gwalior has started working as relay center on 15th August,
1964 with its 5 KW Marconi Transmitter. In 1974, this transmitter was replaced with 10
KW, MW BHL HMB-104. Further 10 KW MW transmitterswere replaced by 2X10 KW
MW BEL HMB-163 and were commissioned on 31.12.95 on 216.45 meter wave
length (1386 KHz). Its Overall dimensions are: width-1800mm,depth-1000mm,height-
2100mm and weight-2000kg (approx).Top loaded vertical radiating mast is 55 meter
height.

Transmitting has an emergency studio, with one four channel mixing console
(Keltron), one announcer microphone, one console tape deck, one turntable, one CD
player and One hard Disk Based Recording system have been provided. One DTH
connections provided as spare 33KV sub-station has been installed in the Transmitter
compound in the year 1998-1999. As a standby for the power supply a 62.5 KVA
Diesel generator has been provided since 1979.

The transmitter complex has a total area of 39.5 acres. There is an ATU Hut, a
security hut and an Armed Guards security hut. The Armed guard dormitory 1+4 has
been provided in the complex.

AIRCONDITIONING PLANT
Studio block has been provided on air conditioning system consists of 2x18.5
Ton Blue Star make QR. 15 MJ-TFD 505 Copeland (USA) make compressor and
allied equipments.

The present condition of AC Plants at Transmitter center 6 Nos. of 2-Ton Split

Air Conditioning unit and 2-Nos. of Tower Air Conditioning unit have been provided in
Transmitter hall to improve cooling inside.

The Air conditioning system at both the centers worked satisfactory throughout
the years.
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 2.
STUDIO CHAIN IN A TYPICAL AIR STATION
Introduction
The broadcast of a programme from source to listener involves use of studios,
microphones, announcer console, switching console, telephone lines / STL and
Transmitter. Normally the programmes originate from a studio centre located inside
the city/town for the convenience of artists. The programme could be either “live” or
recorded”. In some cases, the programme can be from OB spot, such as commentary
of cricket match etc. Programmes that are to be relayed from other Radio Stations
are received in a receiving centre and then sent to the studio centre or directly
received at the studio centre through RN terminal/telephone line. All these
programmes are then selected and routed from studio to transmitting centre through
broadcast quality telephone lines or studio transmitter microwave/VHF links. A
simplified block schematic showing the different stages is given in Fig. 1.

Fig. 1 Simplified block schmatic of broadcasting chain

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Studio Centre
The Studio Centre comprises of one or more studios, recording and dubbing
room, a control room and other ancilliary rooms like battery room, a.c. rooms, switch
gear room, DG room, R/C room, service room, waiting room, tape library, etc. The
size of such a centre and the number of studios provided depend on the programme
activities of the station. The studio centres in AIR are categorised as Type I, II, III and
IV. The number of studios and facilities provided in each type are different. For
example a type I studio has a transmission studio, music studio with announcer booth,
a talk’s studio with announcer booth, one recording/dubbing room and a Read Over
Room. Type II has one additional drama studio. The other types have more studios
progressively.

Broadcast Studio
A broadcast studio is an acoustically treated room. It is necessary that the
place where a programme for broadcast purposes is being produced should be free of
extraneous noise. This is possible only if the area of room is insulated from outside
sound. Further, the microphone which is the first equipment that picks up the sound is
not able to distinguish between wanted and unwanted signals and will pick up the
sound not only from the artists and the instruments but also reflections from the walls
marring the quality and clarity of the programme. So the studios are to be specially
treated to give an optimum reverberation time and minimum noise level. The entry to
the studios is generally through sound isolating lobby called sound lock. Outside of
every studio entrance, there is a warning lamp, which glows ‘Red’ when the studio is
‘ON-AIR’. The studios have separate announcers booths attached to them where first
level fading, mixing and cueing facilities are provided.

Studio Operational Requirements

Many technical requirements of studios like minimum noise level, optimum
reverberation time etc. are normally met at the time of installation of studio. However
for operational purposes, certain basic minimum technical facilities are required for
smooth transmission of programmes and for proper control. These are as follows:

Programme in a studio may originate from a microphone or a tape deck, or a

turntable or a compact disc or a R-DAT. So a facility for selection of output of any of
these equipments at any moment is necessary. Announcer console does this
function.

Facility to fade in/fade out the programme smoothly and control the programme
level within prescribed limits.

Facility for aural monitoring to check the quality of sound production and sound
meters to indicate the intensity (VU meters).

For routing of programmes from various studios/OB spots to a central control room,
we require a facility to further mix/select the programmes. The Control Console in the
control room performs this function. It is also called switching console.

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 Before feeding the programmes to the transmitter, the response of the
programme should be made flat by compensating HF and LF losses using equalised
line amplifiers.(This is applicable in case of telephone lines only)

Visual signalling facility between studio announcer booth and control room
should also be provided.

If the programmes from various studios are to be fed to more than one
transmitter, a master switching facility is also required.

Mixing
As already mentioned, various equipments are available in a studio to generate
programme as given below:

 Microphone, which normally provides a level of –70 dBm.

 HDBRS which provides an output of 0 dBm.
 Tape decks which may provide a level of 0 dBm.
 CD and R-DAT will also provide a level of 0 dBm.

The first and foremost requirement is that we should be able to select the
output of any of these equipments at any moment and at the same time should be
able to mix output of two or more equipments. However, as we see, the level from
microphone is quite low and need to be amplified, so as to bring it to the levels of tape
recorder/ tape decks.

Audio mixing is done in following two ways:

Required equipments are selected and then outputs are mixed before feeding
to an amplifier. This is called low level mixing (Fig. 2). This is not commonly used
now days.

Fig. 2 Low level mixing

Page 9 of 55
 Low-level output of each equipment is pre-amplified and then
mixed. This is called high level mixing. (Fig. 3).

Fig. 3 High level mixing

Low level mixing system may look economical since it requires one single pre-
amplifier for all low level inputs, but quality of sound suffers in this system as far as
S/N ratio is concerned. Noise level at the input of best designed pre-amplifier is of the
order of –120 dBm and the output levels from low level equipment –70 dBm. In low
level mixing, there is signal loss of about 10 to 15 dB in mixing circuits. Therefore, the
S/N ratio achieved in low level mixing is 35 to 40 dB only.

High level mixing system requires one pre-amplifier in each of the low level
channels but ensures a S/N of better than 50 dB. All India Radio employs High level
mixing.

Announcer Console
Most of the studios have an attached booth, which is called transmission booth
or Announcer booth or play back studio. This is also acoustically treated and contains
a mixing console called Announcer Console. The Announcer Console is used for
mixing and controlling the programmes that are being produced in the studio using
artist microphones, tape playback decks and turn tables/CD players. This is also used
for transmission of programmes either live or recorded.

The technical facilities provided in a typical announcer booth, besides an

Announcer Console are one or two microphones for making announcements, two turn
tables for playing the gramophone records and two playback decks or tape recorders
for recorded programmes on tapes. Recently CD and Rotary Head Digital Audio Tape
Recorder (R-DAT) are also included in the Transmission Studio.

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Audio block schematic of transmission studio is shown in Fig. 4.

Fig. 4 Announcer Console

Control Room
For two or more studios set up, there would be a provision for further mixing
which is provided by a control console manned by engineers. Such control console is
known as switching console. Broad functions of switching console in control room are
as follows:

Switching of different sources for transmission like News, O.Bs. other satellite
based relays, live broadcast from recording studio.

 Level equalisation and level control.

 Quality monitoring.
 Signalling to the source location.
 Communication link between control room and different studios.

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Audio block schematic of control room is shown in Fig. 5.

Fig. 5 Block Schematic of Control Room

Page 12 of 55
 3.
DIGITAL MIXING CONSOLES

Studer OnAir 1500

Main Features:
 Modular design with extremely low-profile desk; I/O and DSP in separate Nano
SCore.
 6-fader layout with 100 mm manual faders, may be upgraded to 12 faders by
adding/attaching an optional 6-fader module.
 OLED (Organic LED) displays in fader strips and central section for clear, high-
contrast indication.
 Red lights for on-air and open mic indication in control room and studio.
 I/O in established signal formats (16 analog mic/line inputs, 16 line outputs, 4
stereo AES/EBU inputs with SRC, 4 stereo AES/EBU outputs, 8 channels of
I/O on a USB socket). Additional, optional I/O in AES/EBU, MADI, ADAT, TDIF,
Livewire formats etc. available. 8 GPI/O for control purposes.
 Every channel input with four-band parametric EQ and full dynamics
(compressor, limiter, noise gate, expander, de-esser).
 One stereo program bus, one stereo record bus, one audition bus, and four
stereo Mix-Minus (N–1/N–X/AUX) busses.
 VoiceMix, Studer Auto-Mix algorithm (optional).
 USB jingle player and USB track player/recorder.

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  Easy networking and integration thanks to I/O sharing (‘Relink’) and CMS
(Studer Call Management System) support.
 Complete integration with Radio Automation Systems; optional Ember and
Monitora protocols via serial interface or tunnelled via TCP/IP.
 Configurable router control via ProBel.
 Connections for DVI computer screen and USB mouse/keyboard used during
initial setup.
 Configurable key functions in case customization is needed.

Definitions, Acronyms, Abbreviations

Description
 AF After-fader (as opposed to PF, ‘pre-fader’)
 Bal Balance (for stereo input sources)
 Broadcast PFL If the ‘broadcast PFL mode’ (also referred to as ‘PFL cut on
channel active’ function) is enabled, audio signals are cut from the PFL bus if
the channel is ON and the fader is open. In such a case the PFL key on the
fader strip is illuminated in amber.
 CAB Computer-assisted broadcast (system)
 CR Control room
 CUE Listening after Pan, but before channel ON switch
 DJ Disk jockey
 Masters Main sums = PGM A, PGM B, REC
 Mic Microphone
 N–X Similar to N–1 / mix-minus / clean-feed
 Pan Panorama (for mono input sources)
 PF Pre-fader (as opposed to AF, ‘after-fader’)
 PFL Pre-fader listening. PFL Cut on Channel Active If the ‘PFL cut on channel
active’ function (also referred to as ‘broadcast PFL mode’) is enabled, audio
signals are cut from the PFL bus if the channel is ON and the fader is open. In
such a case the PFL key on the fader strip is illuminated in amber.
 S2 Studio
 TB Talkback
 USB Universal Serial Bus
 DVI Digital Video Interface

Page 14 of 55
  The OnAir 1500 desk has two connectors only.
 CORE (RJ45) for the Cat5 link to the core, and SP (RJ11) for the analog audio
link from the core’s (SPEAKER) XLR socket to the integrated PFL speaker.
(Note: The CORE cable is not only used for communication between desk and
core but also for supplying power to the desk)

Core Rear View :- The rear side of the Nano SCore features the following
elements:

 MIC/LINE IN:- 16 electronically balanced inputs on female XLRs with remote-

controlled individual gain, low-cut filter and 48 V phantom power.
 LINE OUT :-16 electronically balanced line outputs on male XLRs with globally
jumper selectableoutput level.
Please note that the line outputs no. 10-16 are per default assigned to
monitoring lines (10: (SPEAKER), 11/12: CR MON LS, 13/14: ST MON LS,
15/16: ST DJ HP).
 AES/EBU IN / OUT 4 stereo AES/EBU digital inputs and outputs each.
 SYNC 3 different external SYNC inputs: AES for synchronization to an external
AES/EBU signal on a female XLR, WCLK IN for synchronization to an external
word clock signal on a BNC socket (looped through to WCLK THRU for daisy-
chaining several units), VIDEO IN for synchronization to an external video
signal on a BNC socket. For syncing external units to the internal word clock,
WCLK OUT is used.
 AUTOMATION 9-pin D-type connector for communication with a CAB system.
 DESK / EXTENSION / TB BOX 3 RJ45 sockets for the links to the desk, to an
optional 6-fader extension unitand to an optional, external talkback box.
 DVI and USB These sockets may be used for a computer screen, keyboard
and mouse. They are used for the initial console setup or later, if an individual
system configurationis required. They can also be thought of as an emergency
scenario ifthe desk should fail – the user GUI is very similar to the one known
Page 15 of 55
 from the OnAir 2500 and OnAir 3000 consoles, with the exception that, of
course, the computer screen has no touch functionality.
 ETHERNET RJ45 network socket used for RELINK (I/O sharing) and other
networkedapplications.
 100-240V ~ 100W 50-60Hz Mains input on an IEC 320/C13 socket.
 MAIN Main power switch for the whole system.
 GND 4 mm ground/earth terminal.
 24V EXT Connector for an external 24 V DC power supply (may be used for
redundant supply, too).
 11, 12 D21m card slots for two single-width or one double-width card(s) for
inputand/or output expansion.
 GPI / GPO 1-8 General-purpose inputs and outputs for control signals, such as
red light orfader start.

Operating Elements:

Fader Section:

OLED Display

Rotatory Encoder +Key

Ch Assign
Select
Overload
Record
Ch Active
Talkback (or CUE / TB with Setup 2)*

100 mm Fader

Channel ON/OFF (or Ch ON only

with Setup 2)*

PFL ON/OFF (or Ch ON only

with Setup 2)*

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 The fader section with the OLED (organic LED) display contains six fader
strips (only one of them shown in the illustration on the left; approx. 60%original size).
The fader strip has been designed with a minimum of operating elements. Parameter
settings are available through the new feature nicknamed ‘Mini Vistonics’ or via an
external screen, mouse and keyboard. Rarely used and system administration
functions (such as system configuration) can be accessed via the external elements
only. These are normally connected to the console only if used.
Every fader strip contains 3 large keys the functions of which depend on the
selected setup, the fader, a rotary encoder with associated key, and a graphical OLED
channel label display.
There is an additional indicator field with a red overload LED, six yellow LEDs for
channel assignment indication, and a blue channel-active LED. A channel is
considered as ‘active’ if it is switched ON, its fader is open, this channel is assigned to
a master bus, and the master control is open.
* The large keys have snap-on caps for convenient labeling. This allows for
example to have ON and OFF keys at the lower end of the channel strip if required, or
to assign a different function such as fader start to the TB key if the source is e.g. a
CD player. These settings are input source-related and will automatically follow the
source in case the routing is changed. The illustration at the left shows the factory
default key labeling. Alternate key caps are contained in the console’s spares kit.

ON : Pressing the key toggles the channel on/off function (default configuration). In
the audio path, the on/off switch is located after fader and panning. On status is
indicated by illuminating the key.
* This key may also be a channel ON only key (if setup 2 is active).
Channel on/off is disabled if the channel strip is configured as master fader.

PFL : The purpose of PFL (‘pre-fader listening’) is to feed the pre-fader audio signal of
the desired channel, AUX send or master (program, record) to the PFL bus. If active,
the key is illuminated in yellow. If the ‘PFL Cut on Channel Active’ function (also
referred to as ‘broadcast PFL mode’) is enabled, audio signals are temporarily cut
from the PFL bus as long as the channel is ON and the fader is open. In such a case
the PFL key is illuminated in amber.
* This key may also be a channel OFF key (if setup 2 is active).

TB : For N–X owner channels, this key’s function is TB (talkback) to the N–X bus. If
more than one owner is configured to the same N–X output, all corresponding TB
keys work in parallel.
* This key may also be a CUE/TB key (if setup 2 is active). The purpose of CUE is to
feed the after-fader, after-pan and pre-on/off audio signal of the corresponding
channel to the PFL bus. CUE is activated/deactivated by a short press of the key, it is
illuminated in yellow if active. When pressing and holding the key, TB is activated, and
canceled upon release; the key is illuminated in red. If the key is pressed and held
while CUE is already active, the key colour changes to amber.

Page 17 of 55
REC : The REC function is used to assign the channel signal directly to the record
bus, regardless of the fader position, the ON key, and the bus assignment. If active,
the key is illuminated in red.

SEL: If one of the oval function keys in the central section is active, the ‘Mini
Vistonics’view for parameter editing is activated for this channel upon pressingthis
key.
Assignment Display : At the left of the REC and SEL keys an indicator field with a
red overload LED, six yellow LEDs for channel-to-bus assignment indication (for PGM,
REC, and N–1 1-4 busses) and a blue channel-active LED. A channel is considered
as ‘active’ if it is switched ON, its fader is open, this channel is assigned to an master
bus, and the master control is open.

Fader : Since the audio path is fully digital, the signal does not pass through the
faders; linear-track mono faders with a stroke length of 100 mm are used. When
opening the fader, fader start or signaling commands can be released, depending on
the configuration.

Rotary : A rotary encoder and its key are available in every fader strip. The function of
these elements can be assigned with the FUNCTION keys in the central section. If the
rotary knob in the fader strip is touched, the channel label display shows the
corresponding value, depending on the selected function. Several functions are
selectable, such as input routing, input gain, balance, N–X level, etc. The adjacent key
can be, e.g., ‘Enter’ or ‘On’/’Off’, depending on the selected function.

Page 18 of 55
 4.
HARD DISK BASED RECORDING SYSTEM
Hard disk based systems are introduced in a big way in AIR studios and it is essential
that it is understood properly and put to optimum use. Hard disk based systems are basically
computers with special hardware to work to the stringent requirements of AIR. Hard disk
based systems are several times superior to the analog magnetic tape based recording
employed hitherto as follows:

1. Being in digital domain, it results in unmatched dynamic range, Signal-to-Noise ratio

and distortion.
2. It is very easy to edit a recorded cut, remove noise and to introduce dramatic sound
effects in the digital domain. In analog domain, editing depends on the experience and
capacity of the audio engineer but here it can be executed with precision with little
training.
3. The data storage capacity is enormous. For example, an 80 GB hard disk can store
almost 252 hours of Mono audio or 126 hrs of stereo audio as against 5” magnetic
spool tape storing 30 minutes of mono audio.
4. Cueing to a precise location within an audio cut is a very simple job.
5. Network connection enables access to audio cuts available in other locations without
having to physically move a hardware device.
6. Backup can be taken easily.
7. Access can be denied to specific cuts through passwords.
8. It does away with several critical maintenance functions like head alignment, tension
adjustment, bias/erase adjustment, level adjustment, etc.
9. It is not vulnerable to speed variation even after prolonged use.
10. It is very easy to schedule a sequence of programmes (Cue sheet or Play list) like
signature tune, announcement, commercial spot, etc.
11. Help can be accessed instantaneously without having to go through voluminous
documents.
12. A single set of network cable enables two-way file transfer from any location to another
location, thus cutting down the requirement of running several audio cables between
various studios.

TECHNICAL SPECIFICATION OF THE SYSTEM SUPPLIED:

2.0/2.4 GHz Intel Pentium 4 processor with 8-KB primary memory cache and 512-KB
secondary memory cache, 256 Megabytes Installed Memory (SDRAM), 52 X CDROM drive,
Hard disk (2 x 80 GB) 160 GB, 24 GB DAT drive, ATX power supply, towercabinet, Creative
Audigy Platinum sound card, Floppy disk drive, 1 kVA APC UPS for each unit, 17” Color
Monitor, 110 keys multimedia keyboard and scroll mouse. (CD-Writer, PCMCIA Drive, and
DLT backup have been given only for two computers per station.)

DETAILS OF SOFTWARE PROVIDED WITH THE SYSTEM:

a) Operating System: Windows Server 2003 Standard Edition

b) For Studio recording purpose: Wave Lab Lite Version 1.30.

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 c) For editing/dubbing purpose: Wave Lab Lite Version 1.30, Creative Wave
Studio4.21.06, and Sonic Foundry Sound Forge Version 6.0 (only in two systems).
d) For playback purpose: Winamp 3.0, Windows Media Player, and Creative Play
Center.
e) CD Writing Software: Nero Burning ROM
f) Miscellaneous: Protector Plus Anti-Virus, HP tape & tools for backup related
diagnostics (windows backup feature is used for data backup in tape) and CD Copy for
extraction and format change of audio files.

Two hard disks of 80 GB each are provided with each system for secondary storage. But,
utilising a technique known as spanning the volume, the two hard disks are divided into two
drives viz. C and D with “C” drive having a capacity of 10 GB and “D” drive having a capacity
of remaining 150 GB. The 10 GB portion is used for operating system and other software
whereas the 150 GB portion is used for storage of Data (audio files). This is helpful in isolating
the data from the software and facilitates recovery of data in case of failure of software.

Broad details of the Sound Card:

Fig. 1 Front panel controls and the rear connections of Sound Card.

The systems are installed with Sound Blaster Audigy sound card for processing
sound recording and playback. The sound card contains its own processor for on
board processing of sound. Normally, it supports 16 bit resolution and a maximum of
48 kHz sampling rate. But with SPDIF (Sony/Philips Digital interface) input, it supports
24 bit resolution and a maximum of 96 kHz sampling rate. This SPDIF connector is
available in the front panel. The internal processing is being done at 32 bit resolution
and this can provide 192 dB dynamic range. It supports two stereo inputs, one in the
front panel and one in the rear panel, but only one can be used at a time. This card
supports surround sound also.(Ref Fig. 1)

A typical setup is shown in figure 2. The LAN switch is an active device and is
powered through a UPS of any workstation other than that installed in Playback
Studio.

All the terminals are connected to the LAN switch through Enhanced CAT
5cables which can carry data at speed of 100 Mbps. The cables are drawn through
existing audio conduits and trenches. Since these cables carry signal which may
deteriorate due to electrical disturbances, care should be taken to isolate them from
power cables.

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 Fig. 2: Typical overall setup.

Configuration of Systems:

Fig.3. Domain configuration of the system

As can be seen in Fig 3, the systems are configured to work in a server and client
model. One system (generally, the one at Edit/Dubbing room) is configured as ‘Domain
Controller (DC)’ and all the rest as Additional Domain Controllers (ADC). This
configuration provides better security for files because of NTFS file system authentication. If a
user name and password is created in the Domain Controller, this will be replicated to all
systems and, thus, eliminates duplication of creation of users in every computer. As all the
other systems are configured as Additional Domain Controllers, the setup will function
smoothly even if the Domain Controller has not been switched ‘ON’ or is faulty. The Domain
Controller will normally take around five minutes to start functioning properly from cold start.
As such, it is not expected to be switched off. It is expected that the Domain Controller be
switched on first and all other systems should be switched on subsequently for proper
operation. Some knowledge about Windows 2003 is essential for proper administration of the
computers and the network.

The audio cuts already recorded and stored in the hard disk of any terminal of the
HDBS can be accessed from any other terminal through LAN. To enable the same, it should
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be ensured that the folder storing the cuts is assigned sharing permission in the concerned
terminal. A shared folder is indicated by an icon in which a hand is holding a folder, whereas a
non shared folder icon just shows a plain folder without a hand. (Please see Fig.4 in which the
“Audio” folder is shared). The data transfer is very fast with speed capability up to 100 Mbps.
In this regard, just recollect that one second of stereo audio sampled at 44.1 kHz with 16 bit
resolution will have 1.411 Mbits. However, do remember that it is not just bare data travelling
over the network, rather, it is data enclosed in packets with the consequent overhead in bit
density.

Fig. 4 Shared folder

PCMCIA Cards:
Short form of Personal Computer Memory Card International Association, PCMCIA is
an organization consisting of some 500 companies that has developed a standard for small,
credit card-sized devices, called PC Cards. Originally designed for adding memory to portable
computers, the PCMCIA standard has been expanded several times and is now suitable for
many types of devices. The flash cards or PCMCIA cards (Fig. 5) are solid state memory
devices used predominantly in digitalcameras and other portable devices for digital storage.
Because they don’t have moving parts and are robust they have become very popular. They
are available in capacity up to 2 GB. They are capable of fast and reliable performance.

Fig.5.Flash Card.
The Sonifex Courier model Ultra portable recorders are supplied
with this kind of storage media. Two workstations are fitted with PCMCIA drives (which are
accessible from the rear) so that the flash cards can be directly inserted and the recording can
be in that can be edited or transferred to the hard disk.(Ref Fig.6).

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Thus, one needs to just carry a very compact recorder with a PCMCIA card of suitable
capacity to the OB spot and then he can transfer the OB recording into the HDBS through this
drive.

Fig.6: The PCMCIA Drive with a PCMCIA card

WaveLab-Lite for recording purposes:

WaveLab lite is a very simple software which requires very little configuration. Most of the
default configuration can be used while recording. Open the program by double clicking on the
icon on the desktop. Click on Record button to start recording. The recording level can be
monitored while recording is going on. Simple editing can also be carried out.

Sound Forge Studio 6.0.

Any audio file created using WaveLab lite or other recording software can be edited using this
tool.

Fig 7: Editing the selected portion of the wave file in Sound Forge.

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CD Writer:
CD Writer is available in Editing/Dubbing Room and Multipurpose Studio.
After the production of the program is complete, it can be copied to a CD and kept in the
library for future broadcast. Good quality CD-Rs are available in the market at reasonable
prices. This can be used for archival purposes also. For temporary storage of audio
programme, CD-RWs can be used. Nero Burning ROM software is used to write the audio
and data on CDs.

Fig 8: Nero Burning ROM software display for multi session.

Creation of Playlist:
Winamp can be used for the creation of Playlist for playback in the Transmission Studio.
Playlist is nothing but the arrangement of audio files in the desired sequence according to the
cue sheet. Winamp can support up to about 48 audio formats and will be very easy for
playback. Open the Create Playlist menu. Then go on adding the audio files from the hard
disks. It should be remembered that any file available in the network (even if it exists in
another workstation) can be added to the Playlist. Once the addition is over you can save the
playlist with a convenient name (say, Monday Third Transmission with date). A separate folder
for saving various Playlists can be created in D:drive for easy functionality with subfolders for
date and time.

Creative Play Center can also used for creating Playlists and playing audio files including
audio CDs. Audio CDs can be extracted and stored as ‘.wav’ files using this software.

Protector Plus 2000 Anti-Virus Software:

Protector Plus anti-virus software is installed in all the
systems supplied to the stations. It is having very good features including real time scan.
Real-time scan is whenever you are opening a file or copying a file it will be scanned for
viruses before your instruction is carried out. This program can be updated from the software
company’s web-site.
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CDcopy for format change of audio:
The audio tracks in CDs can be played back but editing a
song or a program in the CD directly is not possible as it is in a different format. CDCOPY is a
tool to copy audiotracks from CDs to disk in a desired format.

Similarly various audio files in the hard disk can be

converted to other formats as per requirement. This may be useful when flash card recorders
like Sonifex Courier are used as they normally use MPEG2 compression during recording to
extend the recording time and for efficient use of storage space.

Fig 9: CD Copy displaying audio tracks in the CD present in the CD Drive.

Tips for efficient operation:

1. Taking regular backups in DLT is a must for safety of data in the long run. Once in a week
complete backup and daily differential backup should be done if the daily usage of studios is
very high.

2. All the users should be given a user name and password with the option to change
password at next logon. This will improve security and deter unauthorised persons from
operating the systems.

3. Separate folders may be opened for every user and they may be requested to save their
recorded files in that folder for increased security and ease of operation.

4. No other programs should be allowed to be installed in any system without the knowledge
of administrator. This is ensured by keeping the administrator password secret. By default the
users do not have the right to install any new program or to do any administrative task.

5. Regularly defragmenting the hard disk will keep the system faster.

6. As far as possible, keep the system switched ON. Switch off only when it is necessary. It
may be noted that most of the problems show up when booting.

7. Do not keep multiple versions of the same cut for too long in the hard disk. Once the editing
is complete and the final product is ready, delete unnecessary cuts.

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 5.
FM Transmitter
The FM Transmitter was inaugurated on 04th March 2019 by Shri Narendra Singh Tomar
Hon’ble Union Cabinet Minister of Parliamentary Affairs, Mines, Rural Development and Panchayati
Raj, Shri Munnalal Goyal MLA of Gwalior and Shri Vivek Narayan Sejwalkar Mayor of Gwalior.
The AIR Gwalior has 5 KW ( Innovaction Symphony TRD 5K ) FM Transmitter and
Commissioned on 11.02.2019 on 101.8 Mhz.
The FM Transmitter is Running for Relay Vividh Bharati, Mumbai Only.
All India Radio Uses various FM Transmitter in its network. They are From 100 W to 10 KW
Power. Varius Power and Make of Transmitter Used are :
 100 W FM Transmitter Bharat Electronics Limited, Helios and Ecreso.
 1 KW FM Transmitter RVR Electronica and TX01KSS/NR2E
 5 KW FM Transmitter DB PF5K /DIG/DD, RVR 5 KW (PJ5KPS),DB Electronica BEL HVB 164/A VHF
2x3 KW and INNOVACTION SYMPHONY TRD 5K
 6 KW FM Transmitter RVR Electronica TXF6K-0161, BEL HVB 164/A VHF 2x3 KW and GCEL 131
2x3KW
 10 KW FM Transmitter HARRIS Z10CD, R & S NR8210V and DB Electronica PF10K/DIG/DD,
 20 KW FM Transmitter DB Electronica PF20K /DIG/DD and NAUTEL Q20 TYPE NARF25A/01

5 KW (INNOVACTION SYMPHONY TRD 5K) FM Transmitter :

SALIENT FEATURES:
 Identical type of all Stages : Exciter, Power Amplifier and Combiner
 All stages are solid state.
 Frequency Range 87.5 Mhz to 108 Mhz (1 Hz step)
 Microprocessor controlled system with self-diagnostic facility.
 Remote Interface and Ethernet Controller facility.
 Efficiency is better than 80 %.
 A compact and everything in a single cabinet.

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 6
MW TRANSMITTER
All India Radio uses various MW transmitter in its network. They are from 1 kW to 500
kW power. Various power and make of transmitters used are:

1 kW MW Transmitter – Bharat Electronics Limited, Harris, Broadcast Electronics.

10 kW/20 kW MW Transmitter – Bharat Electronics Limited, Harris.

100 kW/200 kW MW Transmitter (BEL-HMB 140) – Bharat Electronics Limited.

100 kW MW Transmitter (fully solid state)– Thales.

200 kW/300 kW MW Transmitter (fully solid state)– Thales.

300 kW (Tube Version) - BBC.

500 kW BBC/Russian Transmitter.

10 KW MW TRANSMITTER (HMB 163)

SALIENT FEATURES:
Identical type of valves both for PA and Modulator.

Except in the final stage, all other stages are solid state operated.

Valves are ceramic metal tetrode permits full range operation up to 110 MHz

PA is in class-C amplitude modulated which is one of the oldest and yet most popular
modulation technique used in India and elsewhere in the world.

Microprocessor controlled system with self-diagnostic facility.

Efficiency is better than 50 %.

A compact and modular system with everything in a single cabinet.

TECHNICAL SPECIFICATION :
Emission : Double side band broadcasting on MW.

Rated Carrier Output Power (kW) : 10 kW however it can go up to 15 kW (Max.).

Output Impedance : 230 Ω for open line and 50 Ω for cable feed type.

AF Response : -1.5 dB .
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Distortion : ˂ 4 % .

Noise Level : -60 dB .

Audio Input Level : 0 dBm for 100 % modulation.

Audio Input Impedance : 600 Ω balance.

Power Consumption : 20 KVA on carrier,

22 KVA on 40 % modulation,

30 KVA on 100 % modulation.

DESCRIPTION
The transmitter can be broadly divided into following blocks :

1. RF Chain

2. AF Chain

3. Power Supplies

4. Micro Process Control Unit, Control Circuits and Interfacing.

The block diagram of transmitter is given in fig. 1.

Fig. 1 : Block Diagram of 10kW MW Transmitter HMB-163

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1. RF Chain
The block diagram of RF chain has been shown in fig. 2.

Fig.2 : RF CHAIN
Crystal Oscillator :

There are two crystal oscillators A & B of which one is standby. It gives out the output
of 5 Volts square wave required to drive the solid state RF Driver. The unit is handy
and plug in type with its own built in power supply.

Crystal Oscillator Interface :

This PCB unit is housed in RF driver cubical. The selection of oscillator A & B could
be made from Micro Processor Control unit or manually by BNC cable.

Adjustable Delay line Driver :

Housed in RF Driver unit, accepts the input from crystal oscillator interface
board and it is regenerated parallel by dual monostable and gives out, two RF output
of the same frequency with the facility to adjust the phase shift from 0˚ to 90˚ . The
adjustable is brought out in the front panel of RF unit.

RF Driver Amplifier :

This unit accepts the signal from delay line drivers boosts the signal level and drivers
the high speed driver buffer IC DS 0026. The output of high speed driver swings
between +8V to -8V which is sufficient to switch on and off the following power
MOSFET IRF 440 which are 4 numbers all in parallel. The output of IRF 440 is under
class-E condition will generate the maximum power of 200 watts to drive the grid of

Page 29 of 55
RF power Amplifier (10 kW). The RF driver output has the low impedance of 50 Ω
which has to drive the grid of PA stage Impedance 2 TO 3 KΩ. This is achieved by
matching network.

RF Power Amplifier :

This unit is a single valve, power tetrode, gives out of the RF power of 10 kW. It is air
cooled and operated under class-C ( Conventional plate modulated amplifier). The
valve being tetrode, its screen is also modulated by using a tertiary winding of
modulation transformer. The MT (+750) is taken through the tertiary winding of
modulation transformer and given to the screen grid. The plate impedance is 1 KΩ
and this is matched by double pi network to load impedance of 230 Ω. The filament
supply of 6.3 V AC is obtained by using a special leakage reactance transformer to
limit the switching surge. The harmonics generated in the circuit is filtered out by LC
series network with that the spurious and harmonic level is as low as below 50 mW.

2. AF Chain :
The block diagram of AF chain is given in fig. 3.

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It consists of following modules :

High Pass Filter : AFL-301

AF Pre amplifier : APA-302

Two AF Corrector : APC-303

Two AF Driver : APD-304

Power Supplies : APR-305 & 306

High pass Filter ( AFL-301) :

Technical data :
Input : 600 Ω sym (balance)

Amplification : approx. = 1

Lower Frequency limit : 45 Hz for – 6 dB (Adj.)

Upper Frequency limit : 10 kHz.

The unit incorporates active filter to realize the specification.

AF Pre-amplifier (APA-302) :

The is one of the gain determining stages in the AF chain. The negative feedback
from the feedback divider is applied to Q 711 & Q 712 and it can be set by pot R 533
& R 534 on the front panel.

The Hum compensator input is also given at terminal 15 & 16. This amplifier has two
outputs, which is balanced by potentiometer R 535 available in the front panel.

Audio Pre-correctors (APC-303) :

This is a non-linear amplifier for compensating the non-linearity on the modulator tube.
With this the overall distortion for all level of modulation is kept low. The overall
distortion is adjustable by preset pot meters R 503, R 520, R 534 & R 537.

Audio Pre-drivers (APD-304) :

Independent drivers drive each modular tub. The driver provides the necessary DC
bias voltage and also all signal sufficient to modulate the tubes to 100%. The grid bias
is set by R 501, which is in the front panel. The whole high level circuit consists of four
power transistors BUX 44 driven by four driver transistor 2N5416. The pot meter R
502 (front panel) and R 507 are adjustable for clipping level. E1 and E2 are the input
and output test points brought out in the front panel.

AF Final stage (Modulators) :

The final stage in AF chain consists of two ceramic tetrode (4CX 15000 A) which are
working under class B push pull. This will provide enough power to modulated the PA
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stage through the modulator transformer. The screen grid has 750 volt from a
separate supply. The bias has -400 V derived from -600 V rectifier. The grids are
provided with gas filled arresters (V 102 & V 112) to protect from high peak transients.

Hum Compensator :
The Hum compensator provides for the introduction of controlled amount of signals at
50, 100 and 150 c/s which can be varied from 0˚ to 360˚ into the pre amplifier stage
APA 302 so as to cancel the Hum components due to the power frequencies present
in the system. This will help to raise the S/N ratio of the transmitter.

Micro-processor control unit :

The block diagram of control cicuit is given in fig. 4.

The transmitter can be switched on to full power and modulations by two ways :

By back up control ( Digital Logic Based)

Micro Processor Control unit ( Software Based)

Back up control :
The switch SW 703 to be changed over to BKUP and with the push button in the front
panel of back up PCB can be used to put on and off the Transmitter. However in this
case the filament heating delay, blower off delays are to be given by the operator
manually. In case of overload (O/L) there will be no recycling for O/L and transmitter
will just go to SB (standby) stage in case over loads. For switching OFF the
transmitter first press the RF OFF and then go to OFF.

Micro Processor Control :

Change over the switch SW 703 to MP and micro-processor will take charge of the
transmitter. The transmitter can be switched on in three modes.

Manual

Page 32 of 55
Local (Auto)

Remote

The switching on is carried out in two steps.

Switching to “SB” state.

Switching to9 “ON” state.

First as usual blower and filament are switched on. The timing for heating delay etc.
are automatically taken care by the system and SB appears in the LCD screen. Next
we can go to “HT” botton and switch ON the Transmitter. The control system will verify
one by one, such as PA screen, Mod. Screen, RF audio etc. and ON will appear in the
LCD screen if the transmitter is healthy and reaches ON state, otherwise the screen
will display error, asking you to set right the same. IN case of O/L, recycling is done 3
times before going to “SB” with the hooters turned to give audio alarm the set
parameter has reached the limit. The Transmitter keeps continuous monitoring all
parameters, when exceeds it will trip off with an error indication.

SMPS :
The block diagram of SMPS is given in fig. 5.

The DC power supply 25 V DC to 40 V DC required for the RF driver is directly

obtained from the main AC line through a SMPS system. Let us see what are the
advantages and disadvantages of SMPS and linear power system.

Page 33 of 55
Comparison between Linear power system and SMPS :

Sr.No. Parameter Linear power system SMPS

1 Line Regulation 0.02 - 0.05% 0.05 – 1%
2 Load Regulation 0.02 – 01% 0.1 – 1.0%
3 Ripple (peak to peak) 1.5 – 5 mV 2.5 – 100 mV
4 Transient Recovery 50 µs 200 µs
5 Efficiency 50% 70 – 90%
6 Power Density 0.5 W/ln3 2.5 W/ln3

The SMPS consists of following stages :

Input Rectifier and Filter

Control Card

Driver and Inverter

Output rectifier and filter

Input Rectifier and Filter :

The incoming 230 V AC is connected to RF filter and it is rectified by a bridge rectifier

and filtered by a choke L302 and capacitor C302 (1100 µF). The rectifier raw DC
feeds the inverter stage.

Control Card :

Controls the output voltage by varying the pulse width suitably.

Driver board and Inverter stage :

The outputs of SMPS control card is coupled to 9 the input of the driver IC DC0026.
The driver IC will drive the inverter power MOSFET (BUZ 54) in push-pull. Here each
arm of push-pull consists of two MOSFET’s in parallel to get enough power output.

Output rectifier and filter :

The square wave power output from the inverter is further coupled through a Ferrite
transformer and rectified by two diodes to get the DC output of 40 V and current of 5
amps.

Page 34 of 55
Power Supplies :
The wiring diagram showing the distribution of AC supplies through various circuit
breakers and contactors for the requirements – DC/AC are shown in fig. 6.

The number of independent DC supplies available are as below :

HT for TetrodePlate : 5 to 6 kV DC.

SMPS for RF Driver : 20 to 40 V DC.

MOD Screen : 700 V to 850 V DC.

PA Screen : 700 V to 850 V DC.

Bias for PA/ Modulator / APD 304 : -400 V DC to -650 V DC.

Power supply for control unit/ Interface card : ± 5 V DC.

Relay Driver etc. : ± 12 V DC & ± 15 V DC.

Battery power supply for control unit memory when AC main fails : ± 15 V DC.

Page 35 of 55
 7.
PARALLEL OPERATION OF TRANSMITTERS

Need for Parallel Operation

At times it may not be possible to get the required power from the
single transmitter for the required coverage of the broadcast service. In such
conditions, it is essential to combine two or more transmitters to get the required
power. Besides combined operations also facilitate operation of single transmitter in
case of failure of one transmitter thereby achieving reliability of the service.

Requirements
Like parallel operation of alternators/generators there are three conditions to be
satisfied for parallel operation of two transmitters. They are

Frequency of the transmitter should be the same.

The phase of the signal of the transmitters at combiner should be the same.

The power levels of both the transmitters should be such that the amplitude at the
combiner is equal.

In order to meet the first condition, it is possible to use one

frequency source for both the transmitters. Hence if there is any drift in the frequency,
it will be common to both the transmitters.

The phase of the signal of the transmitters depends upon the

tuning stages which employ active amplifiers. Different circuits give different phase
shift. In order to offset this difficulty a phase shifting network is employed in the
oscillator circuit. The signal going to one of the transmitters is passed through this
network and hence the phase angle can be adjusted.

The third requirement for parallel operation is more

stringent and requires constant monitoring for proper operation of combiner to get
equal amplitude or power level at the same impedance of the output. Therefore
matching the network for offering equal load impedance to both the transmitters is
absolutely essential. Different methods are used for getting the proper matching.

Such a network used for combining shall be such that it should

Page 36 of 55
Should offer equal load impedance to both the transmitters.

Shall be able to continue the operation even if one of the transmitters goes off the air.

Shall facilitate to dissipate the unbalanced power flowing through the combiner
network.

The most common network which is used is a bridged “T”

network. The figure 1 shows such a network. It has four reactive networks . Two
capacitive and two inductive and all are having impedance’s equal to that of feeder
line. These impedances can be interchanged as shown in figure 1 (a) & (b). The
bridged arm also has got one resistive load equal to feeder impedance. This shall take
care of the unbalances in the network.

(a) (b)
Fig. 1 Bridged “T” Networks
The break-up of impedances indicates how this network offers proper impedances to
the transmitters at all possible conditions. This is given below in the diagram.

Fig. 2 Normal Operation when one transmitter is off

Impedances can be converted into parallel impedance and vice versa using the
following formulae: -

Page 37 of 55
Rp  Rs 1   Xs / Rs2 


Xp  Xs 1  Rs / Xs 2 ,  
Rs  Rp
1
 1  Rp / Xp 2

 ,

 
1
Xs  Xp
1  Xp / Rp2

Fig. 3 Series to Parallel conversion

With the help of these equations we can break up the impedances as shown in figure
2. There are two cases of possibilities. They are I) both transmitters are working in
combined mode ii) One of the transmitter failed in combined mode. In the previous
case we see that both transmitters get proper load. And in the later condition, the
transmitter in working condition gets proper load, but half the power is lost in combiner
reject load.

Procedure for tuning and combining

Tune each arm of the network for impedance equal to load impedance.

Connect the network and terminate the load impedance.

Measure the load impedance offered at each of the transmitter. It should be equal to
load impedance. If not adjust the reactances.

Open and short-circuit the output point of one of the transmitter (in off condition) and
measure the load impedance at the other transmitter. It should not change.

Now put on the transmitters with a single oscillator source.

If there is unbalance try to adjust with the phase control of oscillator for minimum
unbalance.

If the unbalance still persists try to adjust the power levels of the transmitters either by
HT or AVR variations.

Modulate the transmitter slowly to see whether there is unbalance. If so check the
audio phase to each of the transmitter.

Page 38 of 55
 8.
TRANSMISSION LINES
INTRODUCTION
R.F. Energy of a transmitter is guided up to radiator (mast) by the
propagation of Trans-verse Electro-magnetic waves along systems of parallel
conductors called ‘Transmission lines or feeder lines’. The input energy is stored in
the field of conductors and is propagated along the system at some finite velocity.

It is essential to keep the antenna at a distance from transmitter due to prevent

Radiation hazard

Pick up from antenna and consequent problem with transmitter circuit normally this
distance is either on 50 V/m field strength contour or minimum half the wavelength at
frequency of operation.

The feeder line should carry the power from the transmitter to Antenna with

Minimum loss

Minimum radiation.

BASIC TRANSMISSION LINES

There are three types of transmission lines used at RF. They are :

Open wire feeder lines

Co-axial feeder lines

Wave guides

Characteristics Impedance of Feeder Lines

Characteristics impedance (Zo) is defined as the input impedance of an infinite line.
This is determined wholly by the geometry of its cross section. A transmission line
can be represented as having R, L,C.

Page 39 of 55
Fig. 1 Zo of a Feeder Line
The inductance, resistance, capacitance and conductance of the line determine the
characteristics impedance. This is shown in the figure 1. G is the conductance of the
line.

The characteristic impedance is given by the following basic formula

R  j L
Zo 
G  j C
At higher frequencie s R & G becomes negligible with respect to reac tan ces of L & C. There fore
L
Zo 
C
The characteristics impedance can be lowered or increased depending on some
specific requirement by varying the above two parameters.

To obtain a lower Zo than designed, follow as under :

Increase conductor size maintaining the same Conductor to conductor distance.

Decrease distance between conductor for same conductor size.

Increase no. of wires in each side.

Parallel two or more feeders

Connect lumped shunt capacitors across the line at equal distances.

To increase the impedance opposite of above is done.

TYPES OF FEEDER LINES

On basis of circuit, they are :

Balanced lines: Where there are equal and opposite potential in both wires.

Unbalanced lines: Here one wire is at high potential and the other side is at low
potential.

Structurally there are two basic forms :

(I) Open wire line (ii) Enclosed line.

Open wire feeder lines

Z 0  276 log 2S / d

d
S

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In MW band, normally the feeder lines used are unbalanced and have following
characteristics.

wires, 230 Ohms

wires, 120 Ohms

wires, 60 Ohms

In SW, normally the balanced feeder lines are used. The impedances are

300 ohms, 4 wire

600 ohms, 2 wire

Basic Applications of feeder line :

To guide energy from transmitter to Antenna.In this mode energy move along the lines
in a single travelling wave.

For Storing energy in excess of that dissipated in load, in the form of standing waves.

LOSSES IN THE FEEDER LINES

There are four types of losses. They are:

Copper Loss : It is due to the heating of conductor.

Earth Loss : It arises due to imperfect earth conductivity.

Insulation Loss : It is due to insulation loss and is minor in a well designed system.

Radiation Loss : It is due to irregularity and usually very small for well designed lines..

CHOICE OF FEEDER LINE IMPEDANCE

When the feeder line impedance is chosen low, feeder current will be
more, resulting increase in copper loss and earth loss. When feeder line impedance
is high, feeder voltage will be high resulting in the use of higher voltage rating
insulators. So the choice depends upon the availability of components and
technology in use.

In AIR, following types of feeder lines are used.

230 ohm 6 wire (open wire) lines – for all old 100 kW as well as 10/20 kW.

60 ohm quasi coaxial feeder line - megawatt of Chinsuraha, Rajkot and Nagpur.

120 – Ohm quasi coaxial feeder - all 300 kW and all 100/200 kW new version.

120 ohm feeder line is now standardised for modern transmitters.

230 OHMS COPPER WIRE FEEDER LINE

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 This type of feeder line is most popular and has been used in all old
installations of 10/20/100 kW/MW XTRs. There are total 6 wire (8 SWG, app 4.064 mm).
Two inner are on high potential and four outer are ground conductors

Quasi Coaxial Feeder Line

In this category of line normally there are two designs:

In which there are 8 inner wires and 8 outer wires each of 8 SWG. This has been
used in all 100/200/300 kW XTRs.

In which there are 12 inner conductors of 6 mm dia and 16 screen conductors of 8

SWG and this has been used at 1000 kW Nagpur, Calcutta (Chinsuraha) and Rajkot.

Measurement of Characteristic Impedance, Zo

Zo of a feeder line is given by the relation

Zo  Zoc .Z sc

Zoc = Open circuit Impedance, measured at input by keeping the feeder line end open

Zsc = Short circuit Impedance, measured at input by keeping the feeder line end short

Generally Zoc&Zsc are either capacitive or inductive depending upon the

length of feeder line as multiple of /4.

Zoc&Zsccan be measured with VIM or RF bridge by keeping the line open and shorting
high potential wire (inner) with ground wire (outer) at other end.

Another method utilises the fact that when the feeder line is terminated
by its characteristic impedance, its input impedance is equal to the characteristic
impedance. Input impedance is measured for various terminations. The
characteristic impedance is equal to that termination for which input impedance is
same as the termination itself.

POWER TRANSMISSION CAPACITY OF FEEDER LINE

The power handling capacity of a line depends upon:

Nos. of live wires used in parallel.

The charge density per unit surface of the wire.

Maximum allowable potential gradient to avoid flashover, and corona etc.

Power handling capacity of a line (120) is calculated as below : RF

Current carrying capacity of copper conductor x dia of live conductor in inches = 76.2
x .1574 = 10 Amp.

For 8 wires total current is = 10 x 8 = 80 Amp.

Therefore, power handling capacity = I2 x R = (80)2 x 120 = 768 kW say, 760 kW.
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In practice, the maximum voltage that a line can handle/withstand with out flashover
etc. is 80% of the D.C. Value of max. Voltage.

PRECAUTION WHILE ERECTING A FEEDER LINE

Bends should be gradual and free of any sharp corners (preferably of 120o or so).

The exact and equal length of wires should be used at bends. To keep the length
same is more important than to maintain the equal spacing as it increases the series
inductance of line.

The poles should be placed at equal distance and symmetrically (app. 15 mtr),

Splitting joints should be smooth and free of any irregularity.

The height above ground should be uniform otherwise ground return current will differ,
varying the earth losses.

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 9.
ANTENNA TUNING UNIT

Introduction
Antenna Tuning Unit (ATU) is to match the feeder line impedance to the mast
impedance of MW Transmitters for maximum transmission of power. So ATU is
located between the mast base and the feeder line and is very close to the mast base.
Commonly “Feeder Unit” which is located in the aerial field, houses the ATU.

Generally the mast impedance (aerial impedance) is obtained in a complex form i.e.
the real part (resistive) and the imaginary part (reactive) component. When the mast
impedance is expressed in polar form then negative angle indicates the mast is
capacitive and positive angle indicates the mast is inductive. Whether the mast
impedance is inductive or capacitive depends on the height of the mast in terms of
wave length (). If the height is less than /4, it will be capacitive and inductive if more
than /4. This can be measured with impedance bridges.

ATU can be designed in a number of ways. The method used may be different in
different conditions. Criteria depend on the requirements. Especially when directional
antenna system is employed by splitting power to different antenna, the phase angle
of the network is the most important parameter. In other cases mostly, simplicity and
safety against lightning is important. One of the methods adopted in the past was the
reactive component of the mast impedance is neutralised, by putting opposite reactive
component of same value in series at mast end side, to make the mast impedance
purely resistive (i.e. for inductive mast the series reactance should be capacitive and
vice versa). Then the resistive part of the mast impedance can be matched to the
feeder line impedance by selecting a suitable matching network. This matching
network can be L, T or  network, and can be designed as phase lag or phase lead
type. In these cases if a capacitor is put in series, there is every possibility of
puncturing of capacitors due to lightning. Hence this method is being discouraged.

The second method, which is most commonly used now, is first to convert the antenna
impedance into a parallel combination. Most of the bridges used to measure the mast
impedance measure it in the series form.

This seriesimpedance can be converted into parallel impedance using the following
formula: -

Rp  Rs 1   Xs / Rs 
2


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 
Rs  Rp 
1 
 ,
2 

Xp  Xs 1  Rs / Xs 
2
,
 1  Rp / Xp  
1
Xs  Xp
1   Xp / Rp 
2

Fig. 1 Series to Parallel Conversion

After the conversion we find that the mast impedance has a resistance in parallel with
a reactance which could be either capacitive or inductive. This reactance can be
neutralised with the help of a reactance of same magnitude but opposite in phase.
These two reactance’s which are equal but opposite in polarity resonate and offer
pure resistance. Further this resistance Rp can be matched to the feeder line with the
help of any network. The advantage of this method is that whenever the mast is
capacitive we can neutralise with a parallel inductive reactance. This reactance in
addition to matching, also provide a static leaks for the lightning. This will eliminate
the separate provision of static leaks. Besides the coils being sturdy will be a more
appropriate solution for lightning protection.

The third method employed is shunting the mast impedance with a high Q coil
irrespective of whether the mast is inductive or capacitive. This will alter the net
impedance offered by the antenna and can be manipulated to the desired value by
varying the inductive reactance. In effect the coil impedance alters the mast
impedance. This method is used to bring down the higher value of mast impedance to
a manageable level for designing suitable network. This method is often known as
Pre-Tuning.

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 10.
ANTEENA SYSTEM

Introduction
Antenna is usually a metallic device (a rod or a wire) used for
radiating or receiving electromagnetic waves. The radio frequency power developed in
the final stage of a transmitter is delivered through cables/feeders, without themselves
consuming any power to the transmitting antenna. The RF energy gets converted into
electromagnetic waves and travels in the free space at the speed of light. The
receiving antenna picks up the radio waves and delivers useful signal at the input of a
receiver for reception of signals. The transmitting and receiving antennae are
reciprocal in the sense, any characteristics of the antenna in general applies equally to
both.

Antenna Radiation Resistance

The input impedance ‘Zin’ of an antenna is the ratio of voltage to
current at its input terminals, where the power is fed to the antenna.

Zin = Ra + jXa, where

Ra = Resistive part of impedance

Xa = Reactive part of impedance

Ra = RR+RI

RR= Radiation resistance of the antenna

RI = Ohmic loss resistance of the antenna.

Power is transferred from the RF wave at antenna input to the free

space wave through the component of radiation resistance RR...

Radiation Resistance is a fictitious term. It is equal to a resistance

which would dissipate the same amount of power as being radiated by the antenna
when fed with the same amount of power.

RI denotes the intrinsic resistance of the antenna and represents the

power loss within the structure of the antenna. Usually, the value of RI is very low.

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The reactive part of the input impedance is due to the storage of electromagnetic field
(capacitive and inductive reactances) in the near field of the antenna. The net reactive
Impedance of the antenna can be matched with the conjugate impedance of the
source driving the antenna.

Radiation Efficiency
The radiation efficiency determines the effective transfer of
power from the input to free space and is given by

Radiation Efficiency = Rr / (Ri+ Rr )

Isotropic Antenna
It is an imaginary (non-existent) point (dimensionless)
antenna, and radiates uniformly in all the three dimensions.

Power Gain of Antenna

However, any practical antenna has a physical dimension.
The field at any point away from the antenna is the vectorial sum of the individual
fields received at that point from a large number of elementary portions of the whole
antenna. Depending upon the path length of these individual waves, they may
reinforce or cancel at such equidistance points around the practical antenna and thus
contribute different levels of field in different directions, but at equal distances around
the antenna. Consequently, field is accentuated in certain directions and suppressed
in other directions.

Extending this principle, very large power gain can be

achieved in any plane by stacking a number of antenna elements in the perpendicular
plane, in a particular way. The power gain in a given direction is the ratio of the power
to be fed to the isotropic antenna to the actual power fed to the antenna in question to
lay equal field at a given receiving point in that direction.

However, in practice, the gain of the antenna is always

expressed with reference to the dipole antenna. The dipole itself has a gain of 2.1 dB (1.64
times) over the isotropic antenna.

Radiation Pattern (Polar Diagram)

Graphical representation of the directional radiation properties of
the antenna as a function of space coordinates in three dimensions is called the
Radiation Pattern. Such a representation will be usually very complicated to interpret.
It is usual practice to represent the same in two dimensions for both horizontal and
vertical planes. The length of vector from the centre or the reference point is
proportional to the power gain in that direction.

Half Power (3 dB) Beam Width

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 The angle between the two directions in which the
radiation intensity is one half (3 dB below) of the maximum value is called half power
beam width.

Bandwidth of Antenna
The range of frequencies within which the performance of
the antenna with respect to certain characteristics (such as input impedance, pattern,
beam width, polarisation, side lobe level, beam direction, gain) conforms to a specified
standard is called the bandwidth of the antenna. More commonly, in broadcasting, the
characteristics of importance are gain and input impedance.

Polarisation
The plane containing the electric vector of the electromagnetic wave describes the
polarisation of the radiated wave. Ideally, maximum signal is coupled if the antennae
(both transmitting and receiving) are oriented along the plane of polarisation of the
electro-magnetic wave. A vertical radiator radiates/picks up vertically polarised wave
and a horizontal radiator radiates/picks up horizontally polarised wave.

There are a number of well definedpolarisations such as

o
horizontal (HP), vertical (VP), slant + 45 (SP), circular (left or right) (LCP/RCP), dual
(DP), mixed (MP) and elliptical (left or right) (LEP/REP), etc.

HP: The electric vector is in horizontal plane. Terrestrial TV broadcasting uses

horizontal polarisation.

VP: The electric vector is in the vertical plane. The self-radiating MW masts radiate VP
waves. Electric supply undertakings use vertical polarisation for their VHF
communications.

CP: The electric vector in circular polarisation rotates in a circular motion. They may
be considered as the resultant of equal amplitude of vertical and horizontal polarised
o
components combined in phase quadrature (90 ).

The polarisation is said to be right or left circular polarised (RCP or LCP)

depending on the rotation of electric vector in clockwise or anti clockwise direction
respectively, as seen from the transmitting point or by an observer with his back to the
transmitter.

INSAT downlink signals are left hand circularly polarised.

Dual Polarisation
In the circular polarisation, if there is no definite control on the phase relationship
between vertical and horizontal components, the polarisation is said to be dual. FM
broadcasts employ dual polarisation.

Elliptical Polarisation

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 In the elliptical polarisation, the horizontal and vertical
components are not equal and the phase relationship between them is also random.
The best example of elliptical polarisation is a shortwave signal arriving on the ground
after bouncing off the ionosphere.

Mixed Polarisation
This is a collective term for slant, circular or dual polarisations.

Aperture of an Antenna 'A'

This term usually relates only to receiving antenna. Aperture (or
effective area) of a receiving antenna is the ratio of power delivered to the load
(connected to the antenna) to the incident power density.

A = Gλ2 / 4Π

Where, G is the gain with respect to the isotropic antenna.

MEDIUM WAVE ANTENNA

Introduction
The wave length of MW signals are very large, of the order of few
hundred metres, and therefore the antenna cannot be mounted a few wavelengths
above the earth to radiate as space waves. MW antenna, therefore, have to exist
close to the surface of the earth and the Radio waves from them have to travel close
to the earth as ground waves. If the electric vector of such MW radiation is horizontal,
they will be attenuated very fast with distance due to the proximity of the earth. MW
antennas have to be placed vertically, so that they radiate vertically polarised signals.
It is for this reason; the entire MW antenna is installed vertically close to the ground.
However vertical wire antenna, inverted 'L' type antenna, top loaded antenna and
umbrella antenna are at a few All India Radio stations. Directional antenna systems
also exist in many All India Radio stations.

Self Radiating MW Mast Antennas

They are broadly of two types:

• Mast isolated from ground and fed at its base.(Series fed)

• Grounded mast fed at a suitable point along its height.(Shunt fed)

As most of the All India Radio MW towers are of the first category, only they are
discussed here. (see Fig. 1) Their height is between λ/4 to 5/8λ .

Where ‘λ’ is the wavelength.

Most of them are guyed masts. They use vertical polarization. There may be 3 or 4
levels of guys.
Page 49 of 55
 Fig. 1: MW Antenna isolated from ground

The height of the MW tower also will have to be coordinated

with the civil aviation authorities from the point of view of nearness of the airport.
Aviation lights are used on the top and in middle of the tower. Power to these is fed
through special transformers called “Austin” transformers.

Masts are standing on base insulators. They can withstand heavy

vertical load and high voltages. They are normally oil filled ceramic insulators. They
are protected by rain hoods, Corono rings and spark gaps. They are to be checked
frequently.

'T' and 'L' Antenna

'T' and 'L' antenna find application in broadcasting. AIR has used
such types of MW antenna in the network. This may perhaps be very handy to rig up
one for emergency arrangements. The antenna is secured on two high (100 to 250m)
mast (wood or metal), spaced 100-250 m apart. (Fig. 2)

The antenna consists of two to sixteen wires spaced 1 to 1.5 m apart.

The copper wires are usually 5 to 8 mm in diameter. The supporting towers may be
secured by several tiers of guys in which insulators are inserted. The antenna down

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leads directly connect the radio transmitter. There may not be any need for feeder
lines if suitably structured.

Fig. 2 Inverted “L” Antenna

The disadvantages are:

• Need for two or more masts

• Distortion of directional diagram caused by the influence of supporting cables.

• The voltage at the base and at the end of wire antenna is very high compared to the
mast antenna,

Need for Earth Radials

The MW propogates close to the earth as ground waves. The MW mast also is placed
close to the ground. The electric field in the mast extends from the top to the ground.
The electric field passes through the ground. The earth usually is not a perfect
conductor and field may be attenuated. In order to improve the earth conductivity
when it takes off from the mast the conductivity of the earth around the mast is
artificially increased by burring about 120 radial copper wires of about 0.4 λ long

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(usually 10 swg) at 4 to 12 inches deep. The radial wires are suitably brazed among
them forming a mesh.

Matching the MW antenna

The MW Power Amplifier output has to be matched to the feeder
line which again is to be matched to the antenna impedance usually by a PI/T/L-
network in the Antenna tunning unit located close to the base of the mast for perfect
match. The impedance of the mast at the feed points can be measured by an
impedance bridge VIM. Usually the individual component values of the PI/T/L-
matching networks could be computed using transmitter manufacturer's information
booklet.

Guy support for MW Mast

The guy wires are used at a number of levels depending upon
the height of the tower, its cross section, the maximum wind velocity expected in that
region etc. The guy wires have to be insulated from the mast so also the guys are
broken into a number of small sections λ/10 or λ/12 separated by low loss, high
mechanical strength insulators to minimise distortion of radiation pattern due to field
induced in them. These insulators are shunted by suitable inductors (chokes) to
provide d.c. path for lightning discharges while at the same time blocking the MW
energy from earthing.

Directional MW antenna, using more than one vertical mast

exists in a number of stations like Jullandar, Nagpur (National Channel) in the
network. Special care must be taken to allow for proper bandwidth of the directional
antenna system.

They guy tensions are usually given in the completion report. It

is necessary to measure the Guy tensions as per AIR technical manual to ensure the
verticality or absence of twist in the mast. Measurement of verticality and twist of the
mast are also required to be carried out as per AIR Technical Manual. Loss of
verticality will affect the range of the service due to earth's proximity.

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 11.
CONCLUSION

External Services Division

All India Radio entered the realm of external broadcasting shortly after the
outbreak of II world War on 1st October, 1939-when it started a service in Pushtu for
listeners across- what was then the country's North West Frontier.The service was
designated to counter radio propoganda from Germany, directed to Afghanistan, Iran
and Arab countries.With the end of the war, the Victorious and Allies lost interest in
continung with the propoganda warfare and the equipment was presented to AIR,
which took over its active control.The need of continuing certain services was
assessed and the number of services was rearranged.

Present Status
Today, The External Services Division of All India Radio ranks high amongst
the External Radio networks of the world, both in reach and range, daily in 55
transmissions with almost 72 hours covering over 100 countries in 27 languages, out
of which 16 are foreign and 11 are Indian.

The foreign languages are Arabic, Baluchi, Burmese, Chinese, Dari, French,
Indonesian, Nepali, Persian, Pushtu, Russian, Sinhala, Swahili, Thai, Tibetan and
English (GOS).

The Indian languages are Bengali, Gujarati, Hindi, Kannada, Malayalam,

Punjabi, Seraiki, Sindhi, Tamil, Telegu and Urdu. It has five major services namely,
Urdu (12hrs.15 mts.), GOS/English (8hrs. 15 mts), Hindi (5hrs.15 mts), Bengali
(6hrs.30mts.), anmd Tamil (5 hrs. 30mts)Urdu service is also available 24x7m DTH

FM Service
FM service of AIR has two channels? FM Rainbow and FM Gold? There are 12
FM Rainbow channels and 4 FM Gold Channels? The programme content of these
channels is mainly popular Indian and Western music, compered in a vivacious and
contemporary style and therefore highly popular with the urban youth? News bulletins
and current affairs programmes are also broadcast from these channels

News Service Division

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 All India Radio now under Prasar Bharati has the distinction of being one of the
major broadcasting organizations in the world. The News Services Division (NSD) of
All India Radio disseminates news and comments to listeners in India and abroad.
From 27 news bulletins in 1939-40, AIR today puts more than 510 bulletins daily
around 52 hours in 82 languages/dialects in the Home, Regional and External
Services.

Out of these, 89 bulletins are broadcast daily from Delhi in the Home Service in
English, Hindi and other Indian languages. The 44 Regional News Units (RNUs)
putout 355 daily news bulletins in 67 languages. This includes news bulletins mounted
exclusively on FM ‘Gold’ channel from 22 AIR Stations.

In addition to the daily news bulletins, the News Services Division also mounts
everyday a number of news-based programmes on topical subjects from Delhi and
some other Regional News Units.

Vividh Bharati and Commercial Service

The popular Vividh Bharati Service of All India Radio was conceptualized to
combat 'Radio Ceylon' in 1957. Within no time it proved to be a popular channel of
every household. The service provides entertainment for nearly 15 to 17 hours a day.
It presents a mix of film music, skits, short plays and interactive programmes, Some of
the old popular programmes of Vividh Bharati are 'SANGEET SARITA', 'BHULE
BISRE GEET', 'HAWA MAHAL', 'JAIMALA', 'INSE MILIYE', 'CHHAYA GEET' ETC.,
are still distinctly recongnised by the listeners. From time to time new programmes
were introduced like 'BISCOPE KE BATEIN', 'SARGAM KE SITARE', 'CELLULOID KE
SITARE', 'SEHATNAMA', & 'HELLO FARMAISH'.

Archive Services
"Meri awaz suno...", AIR has offered a debut ground for artists like Bade
Ghulam Ali, Begum Akhtar and other greats through the medium of Archives, a
national heritage of All India Radio featuring the nation's development from the hard
life of freedom struggle to the present day.

In its womb it preserves the cultural and intellectual wealth of the country :
recordings of eminent musicians, men and women of letters, political figures,
intellectuals, leaders, statesmen etc. Needless to say that the Archives are an
important national resource for historians, scholars, music enthusiasts etc. Recordings
both on CDs and cassettes have been developed for the masses at large to let the
national feeling sprout among them.

AIR made it possible for all Indians to tune in his famous prayer meeting
addresses increasing the number of Gandhiji's listeners by four or five millions
overnight ! About 51 hours of these recordings can be heard today.

Technical Services
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 Nothing defines the technical success of All India Radio as well as the itinerant
banjara (nomad) with the trusty transistor, blaring news and 'geet' (song) alongwith
dust and heat! Wherever the banjaras travel, AIR follows them in their trail, via
auxiliary broadcasting centres.

Technical services are the backbone of the AIR network. All India Radio plans,
designs, installs, operates and maintains its studios, transmitters and allied technical
services through in-house expertise.

E-in-C, is the overall Head of all engineering operations in the entire AIR
network. He is the Chief Technical Adviser to the Ministry of Information &
Broadcasting in matters relating to sound broadcasting. His headquarter is at
Akashvani Bhavan, Parliament Street, New Delhi 110001 (India).

It’s a great experience training in the ALL INDIA RADIO, GWALIOR.

They trainee us about, how the transmission and recording process goes on and
different frequency band transmission.

We also came to know about the important of AIR in the country.

It is means of information in various areas of INDIA.

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