SIX WEEKS SUMMER TRAINING REPORT

On

ALL INDIA RADIO, JALANDHAR

Submitted by

HEMANT A RAJA
Registration No 11006814
Programme & Section B.Tech-ECE, E2102

Under the Guidance of

MR.DAVINDER KUMAR
(ASS.ENGINEER)

School of Electronics and Electrical Engineering

Lovely Professional University, Phagwara, Punjab
(June-July, 2014)
 I

DECLARATION

I hereby declare that I have completed my six weeks summer training at ALL
INDIA RADIO, JALANDHAR from 10 JUNE, 2014 to 21 JULY, 2014 under the
guidance of MR.DAVINDER KUMAR(ASS.ENGINEER). I have declare that I have
worked with full dedication during these six weeks of training and my learning outcomes
fulfill the requirements of training for the award of degree of B.TECH-ECE, Lovely
Professional University, Phagwara, Punjab.

HEMANT A RAJA

11006814

Date: ___________________
 II

ACKNOWLEDGEMENT

It was not possible to prepare this industrial training report without the assistance and guidance of respective
people. On the very outset of this report, I would like to extend my sincere and heartfelt obligation towards all
the personages who have helped me in this endeavor.

I am ineffably indebted to the head of department and teachers who infused me with the spirit to work upon
challenging field which has its inception in such a time when there is a dire need for new orientation.
I am thankful to the management of All India Radio, Jalandhar for allowing us to take 6weeks industrial
training in their concern.

I am greatly indebted to our supervisor Mr.Davinder Kumar (Ass. Engg) and Mr.Jagdev Sir who
conceived detailed and superior guidance throughout our training. Without their ungrudging cooperation it
would not have been possible to complete this training.

Our efforts could never meet this success without the blessing of God and our families. We can never think of
repaying their affection, care and encouragement without which it would have been difficult to reach the shores.

Hemant A Raja
11006814
 IV

PREODIC APPRAISAL PERFORMA

Name of Student: Hemant A Raja Registration No. 11006814

Technology Learnt: All India Radio, Prasar Bharti, Broadcasting

System (Based on Communication)

Name & Address of Organization: All India Radio, Prasar Bharti, BMC Chowk,
Jalandhar

Name of Externel Technical Supervisor: Mr.Davinder Kumar Mob.No.9417890546

Period of Evaluation: 10 June, 2014 To 21 July, 2014

Marks
Sr.No. Criteria Awarded
(out of 10)
1. Punctuality/Attendance
2. Regularity of work
3. Progress in work
4. Improvement in learning
5. Grasp on Application(s)
6. Consultation and Discussion

7. Self-motivation /
Dedication/Initiative

8. Technical Competency

9. Discipline & Sincerity

10. Problem Solving Capability

Grand Total(out of 100)

General Remarks / Observations with regard to deficiencies / problems / suggestions for improvements:
________________________________________________________________________

Signature of External Project Supervisor/Guide (With Seal, Date & Designation)

INDEX

Declaration…………………………………..I 2.6.1 Blk.diag. of. Control room…………………… ……..9

Acknowledgement………………………… II 2.7 Amplifiers used in studio……………………………... 9

Certificate………………………………….III 2.8 Facility in studio centre………………………………10

Periodic Appraisal Performa………………IV 2.9 Hard disk based recording system………………. …...10

CHAPTER-1 Organization Overview………..1 2.10 Microphones………………………………………. 12

1.1Type of organization……………………...1 2.10.1 Classification of microphones……………………..12

1.2 About – All India Radio…………………1 2.11 Wave propagation introduction………………………13

1.3 About- AIR, Jalandhar…………………...1 2.12 Transmitter………………………………………….. 15

1.3.1 Historical back ground…………………1 2.12.1 Types……………………………………………….15

1.3.2 Brief introduction……………………...2 2.12.2 Frequency used…………………..............................15

1.4 Location………………………………….3 2.12.3 Channels…………………………………………...16

1.5 Specialization of work/culture…………...3 2.12.4 Software used………………………………………16

1.5.1 Result of work/culture…………………4 2.12.5 Microwave link ………………………………… 16

1.5.2 Target of future………………………...4 2.13 FM Transmitter………………………………………16

1.6 About external guide…………………….4 2.13.1 Salient feature of FM BEL transmitter…………….16

CHAPTER-2 ………………………… ……5 2.13.2 Modern FM transmitter ……………..…………….17

2.1 Tech./Process/System learnt……………..5 2.14 2 x 5 kW FM transmitter …………………………....17

2.2 Indoor broadcasting, block diag…………6 2.15 Exciter………………………………………………..18

2.3 Studio centre……………………………..6 2.16 1.5 kW VHF Amplifier………………………………19

2.3.1 Broadcast studio……………………….6 2.17 Studio Chain in AIR station………………………….20

2.3.2 Studio operational requirement………..6 2.18 Satellite communication introduction ………………21

2.4 Mixing…………………………………...7 2.18.1 Chain diag. of S C………………………………….23

2.4.1 Adv. Of HL mixing…………………...8 2.19 OB……………………………………………………23

2.5 Announcer console …….......................... 8 2.19.1 Types of OB………………………………………..23

2.6 Control room…………………………….8 2.19.2 Equipments used in OB……………………………24

INDEX

2.19.3 Guidelines for coverage of OB…………...25

2.19.4 OB VAN………………………………….26

2.19.5 Blk.Diag. of OB…………………………. 26

CHAPTER-3………………………………….….27

3.1 Motivation of training……………………. …27

CHAPTER-4………………………………….… 28

4.1 How this training is helpful in future… … 28-31

CHAPTER-5……………………………… …….32

5.1 Describing time line……………………… ...32

5.2 Reference……………………………………..33
 1

CHAPTER-1

1.1 TYPE OF ORGANIZATION:

All India Radio is communication principal based, a broadcasting service. Likely the AIR , Jalandhar is a one
of the main broadcasting service station of north India. Which broadcast various programmes in Punjab, Delhi
(by uplink), Over India(through Delhi) and Pakistan. With broadcasting it produce music, drama, talk
programming, dubbing, news, urdu service, recording, outdoor broadcasting programmes etc.

1.2 ABOUT: ALL INDIA RADIO

All India Radio (AIR), one of the largest radio networks in the world is a division of Prasar Bharti
(Broadcasting Cooperation of India) Established in 1936, today it is the sub service of Prasar Bharti’s
Doordarshan, the national television broadcaster.

AIR LOGO:

All India Radio is also known as Akashvani. The head quarter is at the Akashvani Bhavan, New Delhi.

AIR today has a network of 237 broadcasting centers with 149 medium frequency (MW), 54 high frequency
(SW) and 177 FM transmitters. The coverage is 91.85% of the area, serving 99.18% of the people in the
largest democracy of the world. AIR covers 24 Languages and 146 dialects in home services. In External
services, it covers 27 languages; 17 national and 10 foreign languages

1.3 ABOUT: PRASAR BHARTI, ALL INDIA RADIO, JALANDHAR

1.3.1 HISTORICAL BACKGROUND

➢
The Jalandhar radio station came in existence in Nov.1947 during partition of India. In 1948 Amritsar also
had a small 1KW transmitter with a studio linked with Jalandhar station to improve its reception n border
areas.
➢
In 1954 Goraya near Phagwara was installed with 50KW HPT linked with the Amritsar station along with studio
merged with Jalandhar.
The transmitter was replaced by 300KW transmitter in June1990.In June 1984,Guruwani from Amritsar was
relayed line 3hrs daily.
➢
A100KW transmitter was installed at HTP Goraya on 1969 for Urdu service was later replaced with
2x100KWtransmitter in 1988.
➢
Vividh Bharti service was commissioned on 1.3.1968 with 1KW transmitter installed at studio complex and
replaced with 10KW FM transmitter on 10.10.2012
➢
With the installed of capacitive earth station around clock DTH (Direct to home) Punjabi service was added to
broadcast bouquet on 2004.
 2
1.3.2 BRIFE INTRODUCTION
➢
Air Jalandhar is a major regional Akashwani Kendra of North Zone .
➢
It broadcast programme on 5 channels namely-
Regional service
Urdu service
FM service
Vividh Bharti
DTH Punjabi.

STUDIO CUM OFFICE COMPLEX AT BMC CHOWK, JALANDHAR

➢
It is situated at the heart of the city. Besides studio setup ,it has also 1KW transmitter & capacitive earth
station for DTH & Regional uplink. There are total eight studio-3
x Transmission studio
5 x Recording studio
1 x Dubbing room
➢
The station has distinction of broadcasting all programmes on hard disk based system.
FM TRANSMITTER COMPLEX AT KHURLA KINGRA, JALANDHAR
It is located in DDK(Doordarshan Kendra)transmitter complex about 7kms from studio complex on Nakodar
Road.
FM Rainbow channel programme is transmitted on BEL 2x5KW FM transmitter.

HPT,GORAYA
It is situated on NH-1 between Ludhiana & Jalandhar, near village Goraya about 33kms from Jalandhar.
It is spread in 73 acres.
Having 2 transmitter namely-
300KW make for regional service
200KW BEL for Urdu service.

GURUWANI UNIT, AMRITSAR

It is installed in the first floor of Golden Temple. Live Sabad, Kirtan is relayed 3hrs daily from there to
control room for broadcast on regional channel & DTH service.

FM SERVICE
FM service is available at AIR station Delhi, Mumbai, Calcutta, Chennai & Panji. Time slots are also allotted
to privet parties for broadcasting programmes.

VIVIDH BHARTI CIMMERCIAL SERVICE

At present day there are 30 VB and commercial broadcasting station operating in country.
60% of the time of station is devoted to film music and rest of earmarked for devotional music, light music &
spoken word pragramme in the form of plays and interviews etc.

NEWS
The news division produces 89 bulletins in 19 languages which emanate from Delhi and are replayed by
several AIR stations.
 3
ADVERTISEMENT
Advertisement in AIR is inexpensive. It cost less than Rs.500 for 10sec. to send a message to millions of
listeners across country.

1.4 LOCATION:
It is located at BMC Chowk, Near Jalandhar city Bus stand road. It at the heart (centre) of the city. The other
station or sub-station is located at village Goraya, Jalandhar-Ludhiana national highway (NH-1).

1.5 SPECIALIZATION OF WORK /CULTURE:

1. Producing, editing, dubbing, various programmes, news, advertisements, from indoor

and outdoor programmes, live actions, plays, events, ceremony, organizations, etc, based
on different, languages, locations, populations, regions and transmitting it to maximum
wide over, to maximum audience.

2. Work on the culturist Three-Tier Broadcast system-AIR has a three-tier system of broadcasting.
These three levels of programmers are the National, Regional and Local each having distinct audiences.

National programmers are broadcast from Delhi for relay by the Capital, Regional and Local Radio Stations.
Some of these are the National Programme of Talks and Features in Hindi and English, the National
Programmes of Drama and Music.

• The National Channel of All India Radio located in Delhi broadcasts programmes which are heard on
Medium Wave and also on Short Wave. Started on 18th May 1988, this channel works as a night service from
6.50 PM to 6.10 AM the next morning. Broadcasting in Hindi, Urdu and English, the programme composition
of the channel has been designed to make it representative of the cultural mosaic and ethos of the country.

4
• The Regional Stations in different States form the middle tier of broadcasting. They originate programmes in the
regional languages and dialects. Regional Channels are located in the major linguistic-cultural region of every
state. 116 Regional Channels are spread over 29 states & 6 Union Territories including the North-Eastern Service
at Shillong that projects the vibrant cultural heritage of the North-Eastern region of this country. The Regional
Channels, broadcast largely on the Medium Wave frequency, follow a composite programme pattern comprising of
music - classical, light, folk and film, News and Current Affairs, Radio plays, features, Farm and Home
programmes, programmes on Health & Family Welfare and programmes for Woman, Children etc.

• Local Radio is relatively a newer concept of broadcasting in India. Local radio stations serve small
communities, showcase local culture and broadcast area specific programmes for the benefit of the
community. The transmission is in the FM mode. The programming is flexible and spontaneous and the
stations function as the mouth piece of the local community. At present there are 86 Local Stations spread
across the country.

1.5.1 RESULT OF WORKING ON BOTH(1&2) CULTURAL CONCEPTS:

BROADCAST COVERAGE

a) By area 91.42%

b) By Population 99.13%

1.5.2 TARGET OF FUTURE:

1. Broadcasting /cover to 100% area of nation and reaching to 100% of population.

2. Converting the 50% of broadcasting service to Digitalization for maximum quality in

all parameters and starting a modern service.

1.6 ABOUT EXTERNAL GUIDE:

NAME: MR. DAVINDER KUMAR

RANK: ASSISTANT ENGINEER

QUALIFICATION: DIPLOMA IN ELECTRICAL ENGINEERING

WORKING EXPERENCE: APPR. 30 YEARS

RESIDENCE: LAMMA PIND, HOSHIARPUR ROAD, JALANDHAR CITY

CONTACT NO.: 09417890546

CHAPTER-2 5
2.1 TECHNOLOGY/PROCESS/ SYSTEM LEARNT:
HOW THE SIGNAL/PROGRAMME/INFORMATION IS COMING ON RADIO FROM STUDO OF
ALL INDIA RADIO? ...........

2.2 INDOOR BROADCASTING:

DELHI AIR STSTATION UPLINK

MIXING DOWNLINK

Satellite -SET-10

STUDIO CONTROL
ROOM

STUDIO TRANSMISSION

LINK TRANSMIITER ANTENNAS

TRANSMITTER

RADIO

6
2.3 STUDIO CENTRE
The Studio Centre comprises of one or more studios, recording and dubbing room, a control room and other
ancillary 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 centers in AIR are categorized 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 talks 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.

2.3.1 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.

2.3.2 STUDIO OPERATIONAL REQUIERMENTS

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

7
2.4 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 dB.
➢
Turntable which provides an output of 0 dB.
➢
Tape decks which may provide a level of 0 dB.
➢
CD and R-DAT will also provide a level of 0 dB.

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. This is not commonly used now days.

Fig. Low level mixing

➢
Low-level output of each equipment is pre-amplified and then mixed. This is called high level mixing.

Fig. High level mixing

8
2.4.1 ADVANTAGE OF HL MIXING OVER LL 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 dB and the output levels from low level equipment –70 dB.
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.

2.5 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.

Input console

2.6 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 equalization and level control.
➢
Quality monitoring.
➢
Signaling to the source location.
➢
Communication link between control room and different studios.

9
2.6.1 BLOCK DIAGRAM OF CONTROL ROOM:
 Audio block diagram of control room fig.

2.7 AMPLIFIERS USED IN AIR STUDIOS

Amplifier is one of the basic building blocks of modern electronics. The present day electronics would not
exist without this. Amplification is necessary because the desired signal is usually too weak to be directly
useful. Present day amplifiers used in studios are mostly employing ICs and transistors.

AUDIO AMPLIFIER USED IN ALL INDIA RADIO

The following are some of the audio amplifiers used in AIR. All these amplifiers are designed to have a
frequency response within ± 1 dB from about 30 Hz to 10 KHz with respect to 1 KHz and a total harmonic
distortion (THD) of less than 1% at maximum rated output power.

PRE-AMPLIFIER: Pre-amplifier is the first amplifier in the broadcast chain. The output from a microphone
or a pickup which is at very low level (-70 dB) is fed to its input. The amplified signals obtained from this
amplifier are given to the programme amplifier through a fader box or through a mixing console. The normal
gain of this amplifier is about 50 dB. In some pre -amplifiers a variable gain between 40 to 50 dB is provided.
A special feature of this amplifier is that the noise contributed by this is very low. Usually, an input
transformer is provided at the input of the pre-amplifier. This input transformer has the tapping for 50,200 and
500 ohms input impedances. The tapping is selected so as to match with the output impedance of the
microphone or pick up. It may be noted that in the Keltron Announcer Consoles, input impedance of the pre-
amplifier is of a higher value (more than 1.5 K ohm).

10
PROGRAMME AMPLIFIER: Programme amplifier provides second stage of amplification. The output
obtained from the fader box or mixing console is fed to the input of this amplifier. The normal input level to
this amplifier varies from -45to 20 dB. This amplifier gives a maximum output of +27 dB. It has a gain of 70
dB which is variable from 0 to 70 dB. The input and output impedance are usually 600 ohm. The output
obtained from the programme amplifier is of a sufficiently high level and can be handled without the risk of
picking up electrical noise.

MONITORING AMPLIFIER: The output available from the programme amplifier is however, not enough
to drive loudspeaker. Therefore, monitoring amplifiers are provided to boost these signals further. A part of
the output signal from the programme amplifier is given to the monitoring amplifier. The output of the
monitoring amplifier is usually fed to a monitoring bus for further feeding to the loudspeakers. A separate
monitoring amplifier is used for a group of loudspeakers which are located in studios, control room, duty
room and other selected places. Monitoring amplifiers of different wattage ratings are used in AIR. But 8 watt
monitoring amplifier is very common. Normal input level to the monitoring amplifier is about -12 dB in
matching condition and 0 dB in bridging condition. Matching input impedance is 600 ohms and bridging input
impedance is 10 k ohms. Load impedance values of 8, 50 and 150 ohms are usually provided.

2.8 FACILITIES IN STUDIO CENTRE

In addition to control room and studios, dubbing/recording rooms are also provided in a studio complex.
Following equipments are generally provided in a recording/dubbing room :

Console tape recorders

Console tape decks

Recording/dubbing panel having switches, jacks and keys etc.

The above equipments can be used for the following purpose

For recording of programmes originating from any studio.

For recording of programmes available in the switching consoles in control room.

For dubbing of programmes available on cassette tape.

For editing of programmes

For mixing and recording of programmes

2.9 HARD DISK BASED RECORDING SYSTEM

The computer system deals mainly with texts and digits. These texts and digits are in digital form and are
recorded on the hard disk of the computer. So, if the analog audio or video is converted into digital form, it
can be recorded on the hard disk of the computer. Then the computer can manipulate the audio/video in the
similar way as it manipulates texts and digits. This is what is known as hard disk based recording system.
Hard disk based recording system used for audio is also known as Audio Work Station. Before we discuss the
hard disk based recording system, let us see the constraints of analogue system and benefits of digital system.

11
NEWLY HARD DISK BASED RECORDING SYSTEM:
There are two types of hard disk based (audio) recording system :
i) Dedicated system and
ii) Networked Hard Disk Based System.

DEDICATED SYSTEM

In dedicated system, there is only one computer terminal for recording or play. This
is mainly used for editing purpose with a special key board (edit controller).

NETWORK HARD DISK BASED SYSTEM

In networked hard disk based system a number of work stations (computer terminals) are connected together
to the main server (central server). They work in a LAN environment. This system has been shown in figure

Network hard Disk based system

This system facilitates the following :-

Integrated studio automation system

Simplified operational task
Reduced handling cost
Elimination of monotonous repeat works.
Instant and random access to all audio clips.
Detailed logging of on-air events
Access restriction and security.

12
2.10 MICROPHONES
Microphone plays a very important role in the art of sound broadcasting. It is a device which converts
acoustical energy into electrical energy. In the professional broadcasting field microphones have primarily to
be capable of giving the highest fidelity of reproduction over audio bandwidth.

2.10.1 MICROPHONE CLASSIFICATION

Depending on the relationship between the output voltage from a microphone and the sound pressure on it,
the microphones can be divided into two basic groups.

1)PRESSURE OPERATED TYPE

In such microphones only one side of the diaphragm is exposed to the sound wave. The output voltage is
proportional to the sound pressure on the exposed face of the diaphragm with respect to the constant pressure
on the other face. Moving coil, carbon, crystal and condenser microphones are mostly of this type. In their
basic forms, the pressure operated microphones are Omni-directional.

2) VELOCITY & PRESSURE GRADIENT TYPE

In these microphones both sides of the diaphragm are exposed to the sound wave. Thus the output voltage is
proportional to the instantaneous difference in pressure on the two sides of the diaphragm. Ribbon
microphone belongs to this category and its polar diagram is figure of eight.

TYPES OF MICROPHONE

There are many types of microphones. But only the most common types used in broadcasting have been
described here.

TODAYS USING MICROPHONES

Combinedmicrophones More than one microphone is placed within the same unit to achieve a particular
purpose e.g. Western Electric 639 combines a dynamic (OMNI) microphone with a Ribbon (Bi-directional)
microphone to get a cardioid pattern. Thus we have a choice of three patterns by switching in either or both
units. AKG 202 consists of two dynamic microphones to obtain a flat frequency response. In fact the dual
arrangement is coaxially mounted with the smaller in the front and the bigger diaphragm in the rear in a single
housing. The two are connected electrically with a phase correcting network. The response shows a cross-over
at 500 Hz. One unit is adjusted for frequencies above and the other unit for frequencies below to achieve good
response. A switch is provided to cut down low frequencies with 50 Hz dropping upto –20 dB with respect to
1 kHz.

Lip Ribbon Microphone

It is also called noise-cancelled mike since the ribbon even if held close, does not pick up breathing noises
due to a guard in between. The stainless steel mesh acts as a wind shield. The design and other features
resemble the ribbon mike.

13

Lapel Microphone
Both carbon and ribbon types are available. The microphone is very small and light- weight and is suspended
around the neck keeping the mike just below the chin. It is most suitable for running commentary or in a lecture.
Contact Microphone
It is generally a dynamic microphone of lower sensitivity. It is normally placed close to the source of sound,
when it is not supposed to pick up other stray noises.

Gun Mike
It has two forms, (short gun and long gun). A dynamic mike placed at the end of a perforated tube extends its
directivity in the front. The short gun about 18” long can pick up a talk from about 10 feet distance and a long
gun with a tube of about 3 feet length can pick up sound from a distance of about 20 to 25 feet. The quality
suffers but is intelligible. This microphone is useful when sound from a distant spot is to be picked up. An
example is the picking of the sound of bat hitting a cricket ball.

2.11 WAVE PROPAGATION

Propagation of Radio waves takes place by different modes, the mechanism being different in each case.
Based on that, it can be classified as:
1. Ground (Surface) waves 2. Space (Tropospheric) waves
3. Sky (Ionospheric) waves
Before we discuss different modes of wave propagation, let us see the allocation of frequencies for broadcasting.

Allocation of frequencies for Broadcasting

Long Wave Band - This is not used in India.

Medium Wave (MW) Band - MF - 300 - 3000 kHz

531 kHz to 1602 kHz
Channel spacing - 9 kHz
Short Wave (SW) Band - HF - 3 - 30 MHz

International Band
3900 - 4000 kHz (75 m)
7100 - 7300 kHz (41 m)
11650 - 12050 kHz (25 m)
21450 - 21850 kHz (13 m)
5950 - 6200 kHz (49 m)
9500 - 9900 kHz (31 m)
13600 - 13800 kHz (19 m)
25670 - 26000 kHz (11 m)

Tropical Band
2300 - 2490 kHz (120 m) 3200 - 3400 kHz (90 m)
4750 - 4995 kHz 5005 – 5060kHz
Channel spacing - 5 kHz

14

VHF – 30- 300 MHz

Band 1 40- 68 MHz TV Channel #1 - Channel #4

Channel spacing 7 MHz

Band 2 88- 108 MHz FM Sound Broadcasting

 Channel spacing 100 kHz

Band 3 174- 230 MHz TV Channel #5 Channel #12

Channel spacing 7 MHz

UHF – 300- 3000 MHz

Band 4 470- 606 MHz Channel #21 Channel #37

Channel spacing 8 MHz

Band 5 606- 798 MHz Channel #38 Channel #61

Channel spacing 8 MHz

SHF – 3- 30 GHz

S- Band 2.5- 2.7 GHz (DL)

C- Band 3.7- 4.2 GHz (DL) & 5.9 6.4 GHz (UL)

Ex.C- Band 4.5- 4.85 GHz (DL) & 6.725- 7.025 GHz (UL)

Ku Band 10.7- 11.7 GHz & 12.5- 12.75 GHz (DL)

12.75-13.25GHz & 13.75- 14.50 GHz (DL)

GROUND (SURFACE) WAVE

Medium wave (MW) propagates along the surface of the earth. It is normally vertically polarized to avoid
short circuiting of the electric component by the ground.
Medium wave induces current in the ground over which it passes, and thus, lose some energy by absorption.
This is made up to some extent by energy diffracted downward from the upper portions of the wave front.
Because of diffraction, the wave front gradually tilts over. As the wave propagates over the earth, it tilts over
more and more and the increasing tilt causes greater short circuiting of the electric field component of the
wave and, hence, the field strength reduces and it will vanish after some distance.
Range of such coverage depends on frequency, power of the transmitter, ground conditions like salinity and
conductivity of the ground or water over which the waves propagate, and the water vapour content of the air.

SPACE (TROPOSPHERIC) WAVE

They travel more or less in straight lines. As they depend on line of sight conditions, they are limited in their
propagation by the curvature of the earth, except in very unusual circumstances.
Space wave can have two components: viz. Direct wave and reflected wave from the surface of earth. Direct
wave will be steady and strong.

15

2.12 TRANSMITTER

2.12.1 TYPE:
➢
300KW medium wave high power transmitter.
➢
2 x 100KW medium wave transmitter.
 ➢
10KW medium wave transmitter.
➢
10 KW FM transmitter
➢
10KW Ignou transmitter.
➢
Capacitive earth station (satellite uplink facility).

At Jalandhar At Khurla Kingra At HPT,Goraya

10KW transmitter & It is located in DDK 2 Transmitter are there

capacitive earth station for transmitter complex.BEL namely 300KW.
DTH & regional uplink. company 2x5KW FM
transmitter. 2x100KW BEL make for
There are total 8 studios Urdu service.
(3transmission, 5 recording, The program b/w studio &
1dubbing). transmitter is linked with
STL 05 microwave link 05
Station broadcasting system on means 5 channel are there.
hard disk based system.

10KW Ignou transmitter.

➢
10KW transmitter is for Vividh Bharti service. In capacitive earth station satellite downlink and uplink
facility was installed.
➢
On this DTH Punjabi service was added to broadcast on 16.12.04.
➢
Here we use 2 x 5KW transmitter 2 stands for 2 transmitter and 5KW means we can take 5KW as well as
10KW.

2.12.2 FREQUENCY USED

➢
873 kHz for 300KW.(Regional channels/Gyanwani)
➢
702 kHz for Urdu service.
➢
100.6MHz for commercial broadcast service.(Vividh Bharti)
➢
102.7MHz for FM.
➢
2-6GHz for DTH.(uplink and downlink)

16

2.12.3 CHANNELS

Regional service (873kHz).

Urdu service (702kHz).
FM rainbow (102.7MHz).
Vividh Bharti service (100.6MHz).
DTH Punjabi service

2.12.4 SOFTWARE USED

For transmission-Studio 2K
For Recording & editing-Xtrack with protective key.

2.12.5 MICROWAVE LINKS

Between Control Room and FM transmitter-

No. of channels-05

Frequency-1489MHz

Power-3watt

Between FM and HTP Goraya

No. of channels-05

Frequency-1440MHz

Power-3watt

2.13 FM TRANSMITTER
There is too much over-crowding in the AM broadcast bands and shrinking in the night-time service area due
to fading, interfacing, etc. FM broadcasting offers several advantages over AM such as uniform day and night
coverage , good, quality listening and suppression of noise, interfacing, etc. All India Radio has gone in for
FM broadcasting using modern FM transmitter incorporating state of art technology.

2.13.1 SALIENT FEATURE OF BEL FM TRANSMITTER

Completely solid state.
Forced air cooled with help of 2 transmitter in passive exciter standby mode.
Parallel operation of 2 transmitter in passive exciter standby mode.
Mono or stereo broadcasting.
Additional information such as RTS(radio traffic signals) can also be transmitted.
Local/Remote operation.
Each transmitter has been provided with a separate power supply.

17
MODERN FM TRANSMITTER Simplified block diagram of a Modern FM transmitter is given in Fig .The
left and right channel of audio signal is fed to stereo coder for stereo encoding. This stereo encoding signal
or mono signal (either left or right channel audio) is fed to VHF oscillator and modulator. The FM
modulation output is amplified by a wide band power amplifier and then fed to Antenna for transmission.
Voltage controlled oscillator (VCO) is used as VHF oscillator and modulator. To stabilizer its frequency a
portion of FM modulated signal is fed to a programmable divider, which divides the frequency by factor ‘N’
to get 10kHz frequency at the input of a phase and frequency comparator (phase detector). The factor ‘N’ is
automatically selected when we set the station carriers frequency. The other input of phase detector is a
reference signal of 10kHz generated by a crystal oscillator of 10MHz and divider by a
divider(1/1000).The output of phase detector is an error voltage, which is fed to VCO for correlation of its
frequency through rectifier and low pas filter.

2
x 5KW FM TRANSMITTER Block Diagram of Modern FM Transmitter

18
2.15 EXCITER (SU 115)

The Exciter (SU115) is, basically, a self-contained full-fledged low power FM Transmitter. It has the capability of
transmitting mono or stereo signals as well as additional information such as traffic radio, SCA (Subsidiary
Channel Authorization) and RDS (Radio Data System) signals. It can give three output powers of 30 m W, 1 W or
10 W by means of internal links and switches. The output power is stabilized and is not affected by mismatch,
temperature and AC supply fluctuations. The transmitter is automatically reduced in the event of
mismatch. The 10 W output stage is a separate module that can be inserted between 1 W stage and the low pass
harmonics filter. This stage is fed from a switching power supply which also handles part of the RF output power
control and the AC supply stabilizations. In AIR set up this 10 W unit is included as an integral part of the Exciter.
This unit processes the incoming audio signals both for mono and stereo transmissions. In case of stereo
transmission, the incoming L and R channel signals are processed in the stereo coder circuit to yield a stereo base
band signal with 19 kHz pilot tone for modulating the carrier signal. It also has a multiplexer wherein the coded
RDS and SCA signals are multiplexed with the normal stereo signal on the modulating base band .

Block diagram of Exciter

Adapter Unit (KA 033A1)

Adapter Unit is a passive unit which controls transmitter B for its parallel operation with transmitter A in
active standby mode. The control signals from the Switch-on control unit are extended to transmitter B via
this Adapter unit. If this unit is not in position the transmitter B cannot be energized.

19
2.16 1.5 k W VHF Amplifier (VU 315)

This amplifier is the basic power module in the transmitter. It has a broad band design so that no tuning is
required for operation over the entire FM Broadcast band. RF power transistors of its output stages are of plug
in type which are easy to replace and no adjustments are required after replacement. Each power amplifier
gives an output of 1.5 kW. Depending on the required configuration of the transmitter, output of several such
amplifiers is combined to get the desired output power of the transmitter. For instance, for a 3 kW set-up two
power amplifiers are used whereas for a 2 x 3 kW set-up, 4 such amplifiers are needed. The simplified block
diagram of 1.5 kW Power Amplifier is given

This amplifier requires an input power of 2.5 to 3 W and consists of a driver stage (output 30 W) followed by a
pre-amplifier stage (120 W). The amplification from 120 W to 1500 W in the final stage is achieved with the help
of eight 200 W stages. Each 200 W stage consists of two output transistors (TP 9383, SD1460 or FM 150)
operating in parallel. These RF transistors operate in wide band Class C mode and are fitted to the PCB by means
of large gold plated spring contacts to obviate the need for soldering. The output of all these stages is combined via
coupling networks to give the final output of 1.5 kW. A monitor in each amplifier controls the power of the driver
stage depending on the reference voltage produced by the switch-on-control unit. Since this reference voltage is
the same for all the VHF amplifiers being used, all of them will have the same output power.

Each amplifier has a meter for indicating the forward and reflected voltages and transistor currents. Also a
fault is signaled if the heat sink temperature exceeds the prescribed limits. In both the cases, the amplifier
power is automatically reduce to protect the transistors.

20

2.17 STUDIO CHAIN IN AIR STATION

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.

Studio chain from studio room to transmitter antenna

 21
2.18 SATELLITE COMMUNICATION
Satellite Communication is the outcome of the desire of man to achieve the concept of global village.
Penetration of frequencies beyond 30 Mega Hertz through ionosphere force people to think that if an object
(Reflector) could be placed in the space above ionosphere then it could be possible to use complete spectrum
for communication purpose.
For national as well as neighbouring countries coverage, some of the following satellites are used:

ANIK : Canadian satellite system

INSAT : Indian Satellites
AUSSAT : Australian Satellites
BRAZILSAT : Brazilian Satellites
FRENCH TELECOM : French Satellites
ITALSAT : Italian Satellites
CHINASAT : Chinese Satellites
STATSIONAR, : Russian Satellites
GORIZONT,
EKRAN.
There are also satellites operated by private organizations and some of these are given below :

GALAXY : Owned by Hughes Corporation

SATCOM : Owned by RCA
SBS : Satellite Business Systems
PAS : Owned by PANAMSAT
ASIASAT : Owned by China satellites State Communication for Technology and industry

Space prophet Arthur C. Clarke was the first person to predict the modern day satellite communication. In his
scientific fiction in Wireless World in 1945 he foresaw that it would be possible to provide complete radio
coverage using three satellites placed in geosynchronous orbit at an height of 35,779 KM above earth or
42,157 KM from the centre of earth. It was a remarkable prediction at that time when it was felt it would be
shear wastage time to think of placing satellite in space. He calculated that if a satellite had to remain in space
at an height of 35,779 KM it should revolve with a velocity of 3.074 KM/second so as to acquire centrifugal
force to neutralise the force of attraction of earth. With this velocity, the satellite will make one revolution in
23 hours 56 Minutes and 4 seconds and this is the actual period of rotation of earth on its own axis. This is
known as sidereal day (reference of rotation for sidereal day is a distant star and for solar day, reference of
rotation is sun). Solar day has 24 hours as the reference for rotation is sun. The earth is not remaining in the
same location every day but is revolving around the sun and thus advancing about one degree per day. In a
year, it would have advanced 365 degrees (about one full day) in a year and this would have produced one
additional rotation of earth on its own axis. Thus there are 366.25 sidereal days in a year as compared to
365.25 solar days. This correspondingly reduces the sidereal day time from 24 hours (solar day) to 23 hours,
56 minutes and 4.1 seconds. Since earth is actually making one rotation on its own axis in 23 hours, 56
Minute and 4.1 seconds the geosynchronous satellite should also make one revolution during this period as to
remain at same point while looking from earth.

Two technologies responsible for the birth of Satellite Communication System are :-
1. Rocket Technology.
2. Microwave Technology
The Second World War favoured the expansion of these two technologies. Satellite is basically a reflector in
the sky.
 22
Advantages of satellite Communication
The following are the advantages of satellite communication
This is only means which can provide multi access two way communication. Within the coverage area, it is
possible to establish one way or two way communication between any two points.
The cost of transmitting information through satellite is independent of distance involved.
Satellite can be used for two way communication or broadcast purpose with the covered area.
Satellites are capable of handling very high bandwidth. Normally any satellite can accommodate about 500
MHz in C Band. For example the bandwidth of INSAT-I is 480 MHz in C Band and 80 MHz in S Band.
INSAT-II has a bandwidth of 720 MHz in C Band and 80 MHz in S Band.
It is possible to provide large coverage using satellite. For example Geostationary satellite can cover about
42% of earth surface using global beam.
Satellite can provide signal to terrestrial uncovered pockets like valleys and mountainous regions.
Satellites can provide uniform signals for urban areas or rural areas unlike terrestrial service which will lay
more signal to urban areas (where the transmitters are located) as compared to rural areas.
It is easy and quicker to establish new satellite link using SNG terminal or VSAT terminal from any point to
any other point as compared to any other means.

Satellite Communication System

Basically it comprises two elements:
a. Ground Segment
b. Space Segment

The Space Segment

The space segment contains the Satellite and all terrestrial facilities for the control and monitoring of the
Satellite. This includes the tracking, telemetry and command stations (TT&C) together with the Satellite
control centre where all the operations associated with station-keeping and checking the vital functions of the
satellite are performed. In our case it is Master Control Facility (MCF) at Hassan. The radio waves transmitted
by the earth stations are received by the satellite ; this is called the up link. The satellite in turn transmits to the
receiving earth stations ; this is the down link. The quality of a radio link is specified by its carrier-to-noise
ratio. The important factor is the quality of the total link, from station to station, and this is
determined by the quality of the up link and that of the down link. The quality of the total link determines the
quality of the signals delivered to the end user in accordance with the type of modulation and coding used.

The Ground Segment

The ground segment consists of all the earth stations ; these are most often connected to the end-user s
equipment by a terrestrial network or, in the case of small stations (Very Small Aperture Terminal, VSAT),
directly connected to the end-user s equipment. Stations are distinguished by their size which varies according
to the volume of traffic to be carried on the space link and the type of traffic (telephone, television or data).
The largest are equipped with antenna of 30 m diameter (Standard A of the INTELSAT network). The
smallest have 0.6 m antenna (direct television receiving stations). Fixed, transportable and mobile stations can
also be distinguished. Some stations are both transmitters and receivers. Others are only receivers ; this is the
case, for example with receiving stations for a satellite broadcast system or a distribution system for television
or data signals.
 23
2.18.1 CHAIN DIAGRAM SATELLITE COMMUNICATION SYSTEM:

Fig. chain diag. of a Satellite communication system

2.19 OB (OUTDOOR BROADCASTING)

Outside Broadcasts (abbreviated as OBs) form a substantial portion of programmes radiated from a Radio
Station. Major events that occur at different parts of a country, such as sports events, important functions of
political, cultural and national important and other such programmes that originate from outside the broadcast
studio are covered as OBs.

2.19.1DIFFERENT TYPES OF OB
OBs can be classified into two types :

i) Live Broadcast

Events of national importance such as Independence Day Celebrations, sports events etc. are generally
radiated as Live programme.

ii) Spot Recordings

Most of the OB programmes are recorded at the OB spot with the help of a portable, battery operated OB
amplifier and or an Ultra Portable Tape Recorder (UPTR) or a cassette tape recorder. Some programmes,
depending on their importance are recorded at the studio end. In this case, it is necessary to book telephone
lines, from the OB spot to CR. Normally three such lines are booked. One for feeding the programme to CR,
one for inter communication between the OB spot and CR using a magneto telephone, and one as a standby
programme line.
 24
2.19.2 EQUIEPMENTS USED IN OB

i) OB AMPLIFIERS
An OB amplifier is a portable mixing unit. Normally four low level microphone inputs and one high level
input from a PTR or UPTR, can be mixed and controlled by this unit. The individual channel output levels as
well as the level of the programme after mixing can be controlled by rotary step attenuators. A tone generator
providing three spot frequencies (75 Hz, 750 Hz or 1 kHz, 7.5 kHz) is incorporated in this unit so that the
frequency response of the telephone line on which the programme is fed can be quickly checked at CR end
and equalisation done, if found necessary.
The auxiliary output can be used for random operation or for feeding a public address system. Thus two OB
amplifiers can be cascaded, and nine programme sources can be controlled. A portable mixer has recently
been developed by M/s Meltron which can be used with Nagra or Meltron UPTRs. This mixer enables use of
three microphones and has a high level input. The main feature of this mixer is that it is of light weight and
takes power supply from UPTR itself.

ii) MICROPHONES
The choice of the correct type of microphone and its proper handling and placement is very important for the
success of an OB. The microphones used in OBs must be robust, insensitive to wind noise and popping
effects, and having a good front to back ratio to avoid feedback. Hence, when choosing a microphone, for OB
operations the directional characteristics of the microphones should be considered carefully. Suitability of
different microphones for OB recording is discussed below.

OMNI DIRECTION MICROPHONES

Omni-directional microphones are sensitive to sound from all directions equally and hence they are preferred
in studio recordings. But dynamic cardiod microphones are better suited for OB recordings.

Short Gun Microphones

In OB situations such as cricket test match or athletics coverages, the sound is to be picked up from a distance
and hence we require a microphone with a narrow acceptance angle. Gun microphones are used on such
occasions. Its constructional structure is such that all sounds other than those from the wanted direction, arrive
in such a manner as to produce a very low output from the microphone. Hence, shot-gun microphones are
used when the microphone must remain at some distance from the sound or good rejection of sound from the
sides and rear is desired.

Radio/Wireless Microphones
In sports coverages, there may be situations such as in a big stadium where different athletic events take place
simultaneously where it is not possible to lay cables. Radio microphones are best suited for these locations. In
a radio microphone, the microphone is connected to a miniature FM transmitter (held in hand) and the audio is
picked up from the demodulator output of a FM receiver. Such radio microphones are used in locations where
long cable distances are involved or where it is not possible to lay the cable.

Use of Wind shields

When microphones are used out of doors, in windly conditions, wind shields are used. But wind shields tend
to have adverse effect upon the frequency and directional response of the microphones. Hence, they should be
selected with care, and used only when necessary and suitable corrections are to be made to the frequency
response and operational techniques.
 25
iii) TAPE RECORDERS

Spot interview and glimpses of the various events taking place in a particular city, are covered by spot recordings
done with Ultra Portable Tape Recorders (UPTRs) and cassette tape recorders. They are light weight battery
operated recorders and are provided with only headphone monitoring facility in order to avoid the drain on the
batteries. Generally two sets of either dry cells or chargeable cells are taken for the OB recordings, so that atleast
30 minutes of recorded programme is made feasible. Major studio centres such as the BH, New Delhi are provided
with a number of such UPTR s and cassette tape recorders so that more than twenty different event can be covered
with the help of such UPTR s. The recorded tapes are brought back to the BH, and a composite news capsule is
made with the help of console tape recorders, in the dubbing room. The edited programme is used in the
programmes such as Radio News Reel, Agricultural Programmes, special features etc.

2.19.3 IMPORTANT GUIDELINES FOR COVERAGE OF OB

➢
Cassette tape recorders in our network are not of uniform quality. Each cassette recorder should be
thoroughly tested for satisfactory quality before sending it for OB recording.
➢
For VIP recordings, Portable tape Recorders (PTRs) are used. A PTR is mains operated, provides good
quality and is also sturdy enough to withstand continuous operation. PTRs can also be taken to those OB
spots where AC power supply is available. It is preferable to take a variance to take care of power supply
voltage fluctuations.
➢
Where more than one microphone is needed for an OB, proper phasing, correct placement, proper
balancing and mixing of the microphones is essential to get the desired sound quality. Microphones should
be so located as to avoid direct pick up from strong external noise sources e.g. public address
loudspeakers, generators, viscinity of heavy traffic etc. Strong sources of RF radiation in the viscidity of
the equipment will also adversely affect the quality. The commentators mike should be unidirectional and
should have minimum possible pick-up from external sound sources. It should also be kept away from
sound reflecting surfaces.
➢
The connecting cables for microphones and for other equipment should be carefully laid so that these do
not get disturbed during the progress of the OB. Spare cables should be provided wherever possible. If the
effects microphones are at considerable distance from the equipments, these may be connected through
battery operated booster amplifiers located near the mikes
➢
The equipment should be set-up well before the start of the OB and the entire chain from the microphone to
the receiving end should be thoroughly tested for reliability and satisfactory sound quality. The equipment
should not be disturbed after testing and any last minute changes and adjustment must be avoided.
➢
For the coverage of various functions and sports events etc. it is essential to provide adequate sound
effects. If the sound effects are not available in the background of the running commentary, it becomes an
extremely dull coverage, uninteresting to the listeners. The engineer on duty should ensure that the sound
effect do not override the main commentary and proper balance is maintained.
➢
Proper selection of the microphones for coverage of an OB is very important. Apart from good quality,
the microphone should be rugged and capable of withstanding transit hazard. It should always be carried
in a proper case to avoid damage due to improper handling
➢
. It is always essential to take standby equipment, spare batteries, spare components and essential tools for
the coverage of an OB. A portable battery operated receiver should also be taken for monitoring purposes.

26
2.19.4 OB VAN
AIR has acquired a few OB Vans recently. The vans are of the size of a matador vehicle and incorporate
equipment of latest technology. Each van has been provided with a 6 channel audio mixer 3 UPTRs and a
Public Address Amplifier. The interior is acoustically treated and air-conditioned. A portable diesel generator
can be housed in the body. It is possible to record talks and interview inside the van. All microphones inputs
are terminated on a panel and cable drums provided for laying of the cables for recording the outside
programmes and placement of effects mikes in the field. Provision is available to meet most of the
requirements of production, recording, editing and dubbing etc. The van can also meet the requirements of a
live coverage. Provision will be kept for installing a VHF/FM transmitter and a video camera along with a
monitor inside the van in case these are required for certain types of coverage.

2.19.5 BLOCK DIAGRAMME OF OB:

SPOT EXAM..HEADPHONE
PLAY GO
BY BSNL

ISDN
CODEC DELHI
OUT 1
CODEC
OB
MIXER FOLD BACK

CONSOLE
ENGINEER HEADPHONE

OUT 2

TO AIR JALANDHAR

FROM AIR JALANDHAR

DIFF.I/P’s SPEECH CKT.

ISDN - INTEGRATED SUBSCRIBER DIGITAL NETWORK.

27
CHAPTER-3
3.1 MOTIVATION OF TRAINING

TO VISIT IN A NATIONAL SERVIES FIRM:

It is very interesting to visit in a main station of the biggest Indian government service. This is the core of
Indian broadcasting service. And this was our industrial training for 6 weeks. So to spend 6 weeks in this
greatest firm will gave me a lot of experience which will surely help me in my future.

COMMUNICATION BASED FIRM:

Because we are doing B.Tech in Electronics and Communication, so the major reason is for doing 6 weeks
training in this firm is that to judge and to understand the concept of communication and importance in the
future.

EXAMINE AND UNDERSTAND THE CONCEPT OF BROADCASTIN, ALSO HOW IT IS DONE:

Because the broadcasting is the main factor of communication so it is important to see the working and learn
the concept of broadcasting. In this 6 weeks we examine all the station’s working, the concept of
broadcasting, that how it be done. We understand that what actually broadcasting is. How the one message is
conveying to the whole nation. We learn the types of broadcasting i.e Indoor & Outdoor broadcasting.

TO CLEAR THE METODOLOGY AND BASIC CONCEPT THAT HOW THE PROGRAMMES
COMES ON OUR RADIO SETUP FROM RADIO STUDIOS AND DISTANS EVENTS:

In this 6 weeks we learn and examine practically the concept that how the speech signal from a particular
sight delivers to radios. How the programmes made in the different studios and from the live events
broadcasts to the nation. We get the knowledge about radio broadcast parameters, steps, functions, modes,
methods, modern techniques and future plans.

STUDIO WORK AND PRODUCTION:

We also see and learn the working of the different types of studios. The studio in which music is operated and
produce, conversation and talk studio, drama and play studio, editing and dubbing of programmes.

28

CHAPTER-4
LEARNING OUTCOMES FROM TRAINING

4.1 HOW THIS TRAINING WILL HELP IN THE FUTURE?

THERE IS LARGE SCOPE IN THE COMMUNICATION FIELD

We know very well that the every sector of technology, service, agriculture are linked with in their self
and other self. All cities, states, countries are connected with each other because they need so for their
growth and survivor and this is done only by the communication technology. And this technology is fastly
growing since 1964 and in present is becoming modern and more fast with more improvements and more
scopes in all fields.

SCOPE IN THE BROADCASTING

In the communication field the biggest section is broadcasting. And in the broadcasting there are so many
fields like studio technology, transmission technology, satellite communication, radio technology,
management in broadcasting service etc.

DIGITALIZATION OF BROADCASTING
After the spreading of electronics field all technologies are going towards the phenomenon of digital.
Because of the lower power consumption, controllable techniques, and easy maintenance with much
improvement due to spreading electronic technology of digital world the analog concept become old so to
improve the broadcasting service the Indian government is now going to digitalize this service. And due to
this there is heavy scope in requirement of electronic engineering.

CONVERTION OF AM BROADCAST TECHNOLOGY INTO FM TECHNOLOGY

Today in the broadcasting service the FM transmitters are taking place of am transmitter because of below
mentioned qualities of FM system over AM system:

ANALOGUE SYSTEM-THE CONSTRAINTS

➢
Inflexible - Insert/drop is not easy.
➢
Quality - It degrades with usage.
➢
Editing - Cumbersome and time consuming

29
➢
Automation - Complete automation is difficult.
➢
Limited signal to noise ratio and dynamic range.
➢
Compression technique is not possible.

➢
Signal quality degrades due to tape hiss, modulation noise, dropouts, wow and flutter, cross talk,
distortion etc.
➢
There is slow progress of analogue equipments.

DIGITAL SYSTEM-THE BENEFITES

➢
It is highly flexible and versatile.
➢
No quality degradation with multiple usage.
➢
Highly reliable, efficient and nondestructive editing
➢
Complete automation is possible.

➢
Excellent signal to Noise Ratio - better than 90
dB. Dynamic Range - better than 90 dB
Cross Talk - better than 90
dB Distortion - 0.004%
Wow & Flutter - Nil
➢
Quality depends only on the quality of conversion process.
➢
It is possible to use compression technique. This results in bandwidth saving.
➢
Tremendous benefits in the areas of post-production, archiving and multigeneration.
➢
Since the signal is in binary form, it is immune from noise.
➢
Hard disk recording facilitates random access.

➢
Centralised storage system can be provided.
There is fast progress of digital equipment.

MODREN TRANSMITTER IS INTRODUCING

The working and research on modern transmitter including exciter, air conditioner, voltage valves, electronic
relays, transformer in compact size are in process. And government is also purchasing digital transmitters from
Canada, America etc. And to maintain and work on it electronic engineers are in requires.
 30
SCOPE OF THE ENGINEERING IN THE RADIO TECHNOLOGY SECTOR
There is a broad research line in the radio technology sector . In which working and research on radio
waves and satellite radio is now in progress. So in this research study can be done in the future after
engineering for higher study.

SATELLITE RADIO TECHNOLOGY

➢
This is a special part of radio technology.
➢
Satellite radio is a subscriber based radio service that broadcast directly from satellites.

➢
It is an advanced form of mobile radio service where one can receive compact disc quality music and
other entertainment channels.
➢
Even if the person is miles away from the radio station, the quality of the program is not affected.
➢
In this line there are many fields for setting future in multimedia content, television transmission,
military purpose etc.

IMPROVEMENT IN THE RECORDING SYSTEM

There is requirement in the recording system section of electronics and computer engineers to maintain all
programmes and working on special software and instruments.

OPENING OF NEW CHANNELS

In every year there are new different channels are producing in government and private broadcasting
service. So this will produce vacancies in many sections like in studio, recording, dubbing, entertainment
plays , technical sections like transmission, control, research etc.

STUDIO TECHNOLOGY

In the studio there are many technical and art with commercial work. So there is so many scope in
studio technology.

MUSIC PRODUCTION
This the one of the big commercial and technical line for the engineers. There are so many courses in this
trade and we can earn best in this field related with entertainment.

31
SCOPE OF TIME CONTROL MANAGEMENT
In the any firm for broadcasting service or communication there is very importance of a single second. So
after engineering we can do management study and after some experience can apply for this field also for
earn better.

OB TECHNICIANS
There is a broad line in outdoor broadcasting. In our country there are 29 states, in which more than 200
big cities are. Every day there is average more than 100 events are organized. Also in foreign countries all
the nation related carnivals, festivals, events, games, matches, etc. have to be broadcast in India. So to
broadcast the live programmes on radio as well as on television internet there is heavy requirement of ob
technicians and art and craft staffs. The earning is very impressive and with a joy full job.

GOOD PACKAGE IN FULL TIME AND PART TIME JOB

So at in the final after engineering there is an interesting field with sub-fields, in which we can make our
future and earn best by getting good technical, management, art and research skills and with some
experience.

32
 CHAPTER-5
DISCRIBING TIMELINE

WEEK LOCATION INSTRUCTOR TOPICS

INTRDUCTION AND
INSPECTION OF PRASAR
MR. DAVINDER KUMAR BHARTI, AIR, STUDIO’S
1st AIR, BMC CHOWK, (ASS.ENGG), WORKING, RECORDING,
JALANDHAR DUBBING, EDITING,
MR. JAGDEV SIR
CHANNELS FREQUENCY
(ENGG)
EXAMINE, SAFETY
PRECAUTIONS, CONTROL
ROOM WORKING
ELECTICAL SYSTEM,
RELAYS, WIREING, AIR
CONDITIONING SYSTEM,
MR. DAVINDER KUMAR WORKING ON
2nd AIR, BMC CHOWK, (ASS. ENGG), ANNOUNCER CONSOLE,
JALANDHAR MIXING PROCESS, RADIO
MR. JAGDEV SIR
(ENGG) NETWORK TERMINAL,
STUDIO TRANSMISSION
LINK, INRO. ABOUT
WAVES, AMLIFIERS USED
AIR COOLING SYSTEM,
PRASAR BHARTI, HIGH POWER TRANSMISSION 100kW TRANSMITTER,
3rd HPT LINK, LINK FACILITY MODULATION IN
GORAYA TRANSMITTER SETUP, OB
VAN
FM TRANSMITTER,
PRASAR BHARTI, HIGH POWER TRANSMISSION EXCITER, DUMMYLOAD,
4th HPT LINK, LINK FACALITY MULTIPULEXING,
GORAYA CAPACITIVE EARTH
STATION
MICROPHONES,
AIR, BMC CHOWK, BROADCASTING CHAIN
5th JALANDHAR MR. JAGDEV SIR SYSTEM, INDOOR
(ENGG) BROADCASTING WITH
PRACTICAL WORK, INTRO.
ON SATTELITE,
OUTDOOR BROADCASTING
6th AIR, BMC CHOWK, MR. DAVINDER KUMAR WITH PRACTICAL WORK,
JALANDHAR (ASS. ENGG), QUIZ, TEST
MR. JAGDEV SIR (ENGG)
RELEASING OF
AIR, BMC CHOWK, CERTIFICATE BY AIR JAL.
JALANDHAR DIRECTOR

33
REFRENCES:
➢
HISTORY OF ALL INIA RADIO - PRASAR BHARTI ANNUAL MAGZINE
➢
HPT BLUEPRINT
➢
100KW TRANSMITTER GUIDE & PRECAUTIONS
➢
FM TRANSMITTER GUIDE & PRECAUTIONS
➢
AKG MICROPHONES – COMPANY CATALOUGE