INDUSTRIAL TRAINING REPORT

1. INTRODUCTION
Radio broadcasting is an audio (sound) broadcasting service, broadcast through the air as radio waves (a form of electromagnetic radiation) from a transmitter to a receiving antenna. Stations can be linked in radio networks to broadcast common programming, either in syndication. Audio broadcasting also can be done via cable FM, local wire networks, satellite and internet. The best known type of radio stations are the ones that broadcast via radio waves. These include foremost AM and FM stations. There are several subtypes, namely commercial, public and nonprofit varieties as well as student- run campus radio stations and hospital radio stations can be found throughout the developed world. Although now being eclipsed by internet-distributed radio, there are many stations that broadcast on shortwave bands using AM technology that can be received over thousands of miles. For example the BBC has a full schedule transmitted via short wave. These broadcast are very sensitive to atmospheric conditions and solar activity. AIR Calicut consists of Broadcasting in mw and fm bands. MW transmission at 684 khz @100 kw (local radio station) FM broadcasting in 103.6 mhz @10 kw radiating power (commercial service).

2. ALL INDIA RADIO-PROFILE

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A national service planned, developed and operated by the Prasar Bharati Broadcasting Corporation of India. Sound broadcasting started in India in 1927 with the proliferation of private radio clubs. The operations of All India Radio began formally in 1936, as a government organisation, with clear objectives to inform, educate and entertain the masses. When India attained Independence in 1947, AIR had a network of six stations and a complement of 18 transmitters. The coverage was 2.5% of the area and just 11% of the population. Rapid expansion of the network took place post-Independence. AIR today has a network of 237 broadcasting centres 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. Vividh Bharati Vividh Bharati is one of the best-known services of AIR. Its name roughly translates as "Multi-Indian Service", and it is also known as the Commercial Broadcasting Service (CBS). It is the most commercially-accessible of the AIR networks and is popular in Mumbai and other large cities. Vividh Bharati offers a wide range of programmes including news, film music and comedy programs. It operates on different medium wave-band frequencies for each city. External Services The external services of All India Radio broadcast in 27 languages to countries outside Indiaprimarily via high-power shortwave band broadcasts, although medium wave is also used to reach neighbouring countries. In addition to broadcasts targeted at specific countries by language, there is a General Overseas Service broadcasting in English with 8 hours of programming each day aimed at a general international audience. The external broadcasts were begun on 1 October 1939 by the British government to counter the propaganda of the Nazis directed at the Afghan people. The first broadcasts were in Pushto, beamed to Afghanistan and the North-West Frontier Province. Soon broadcasts began in other languages including Dari, Persian, Arabic, English, Burmese, Japanese, Chinese, Malay and French. The external services broadcast in 16 foreign and 11 Indian languages, with a total program output of 70 hours per day on medium- and shortwave.Indian languages broadcast are Bengali, Gujarati, Hindi, Kannada, Malayalam, Panjabi, Saraiki, Sindhi, Tamil,
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Telugu and Urdu.The External Services Division of AIR is a link between India and rest of the world, especially in countries with Indian emigrants and people of Indian origin. It broadcasts the Indian point of view on matters of national and international importance, and demonstrates the Indian way of life through its programs.

Other services
News-on-phone service Direct-to-home service Documentaries Central Drama Unit DRM Transmission

CONTROL ROOM

Control room coordinates all engineering activities of the station including Providing interruption free transmission in both channels. Manage and maintain all studios and recordings. Manage the computer network. Manage power supply system. Outside broadcasting. Program routing as per cue sheet.

BLOCK DIAGRAM OF CONTROL ROOM

STUDIO SETUP

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Play back studio Originate live announcement for regional (mw) transmission. Play back of scheduled program which recorded on computers as per cue sheet. Live phone in programs. Play back of scheduled program which recorded on computers as per cue sheet. Live phone in programs.

Vivivdh bharathi studio

Originate the program for f m transmission Which include live announcements and recorded programs stored in computers. Live phone in programs can also be broadcasted. SMS based polling facility is also added recently.

C-band satellite receiver Input frequency is 950-1450 mhz. Output is +9dbm @ 75 khz deviation. Used for the reception of various programs uplinked from different capital stations. They operates in c band analog and digital modes. Digital receiver outputs are available in both analog and digital formats (i.e.AES/EBU).
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Studio transmitter link Lst consists a transmitting system at studio end and a receiving system at the transmitter. Make: keltron. Out put is aired with the help of a PDA placed at a height of 50m. Multi programs can be fed to transmitter. Antenna gain is 26.7 db with suitable polarization. (normally horizontal) Operating frequency 1440 mhz @ 3w.(u h f).

ISDN ISDN stands for integrated service digital network. It is a communication standard used for digital transmission of voice, video, data and other network services through traditional telephone lines. ISDN integrates speech and data over same telephone line. They have better speech quality than ordinary telephone lines. Data rate starts from 128 kbps in both upstream and down stream directions. Minimum two simultaneous connections are possible in a combination of data , voice , video and fax over a single line. Multiple devices can be attached to the line. Meet the complete communication need of a user with high transmission speed better signal quality. FM transmitter Make : Harris broadcasting corporation. Model : Harris z 10 cd. Fully digital fm exciter, can receive both analog and digital inputs Variable output power from 2.5 to 10 kw @ vswr of 1.1 or less. Micro processor based control system. Hot pluggable modules. Redundant power supplies without starting times. Digital tuning system to change operating frequency.
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Can deliver full output power within a short time. Versatile cooling system. Provision to connect ups. Can be operated remotely.

3. AM TRANSMITTER
AM transmission has advantage of improved coverage area compared to FM(since FM uses LOS method). Hence, AM is very much essential. All India radio uses various MW(Medium Wave) transmitters in its network. They are from 1 KW to 500 KW power. Calicut AIR make use of 100 KW HMB 140 MW BEL transmitter operating at 684 kHz, located at Puthiyangadi, a few kilometers away from Calicut AIR station. 10 KW NEC make transmitter is used as stand by transmitter. The transmitter requires a large ground area and kept at a place where population density is low, for comfort. The main AIR station where programmes are produced is connected to the transmitter by means of STL(Studio Transmission Link). STL make use of frequency modulation to transmit signals to puthiyangadi transmitter.

Features
Four tetrode vacuum tubes are used for modulation. Deionised water is used in cooling system. Maximum conductivity of water is to be 4 micro mo. Conductivity is to be regularly tested. If conductivity value is exceeded, shorting may occur. Deionisation plant is provided for this purpose.

Standard class B modulation is used with class D output. Class D has a higher anode efficiency with the same biasing conditions of class B. This method increase the efficiency of the transmitter considerably. In class D, 17% of the third harmonic is added.
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Ideal driving wave form is rectangular instead of sine(to increase efficiency) Solid state amplifiers are used in low power stages. Crystal based oscillator is used for carrier generation.Crystal oscillates at 4-6MHz and is housed in heated Oven- at 68-72Degree C Uses three phase thyristor controlled circuit on the primary side of the transformer.

12 phase is realized by using 2 transistors- 1 transistor in normal configuration and other is in star delta configuration. This increases efficiency and reduces need for filtering. Hence, only 40microF capacitance is to be used instead of 1000 microF. This is realized by using filterbank of ten 4 microF capacitors, thus achieving a compromise between cost and storage space.

Freon 22 is used as coolant in AC system. Back indicators and alarms are provided according to need. Audible alarm is used to sound warning throughout the area of the station when the transmitter is switched on.

RF power feeder lines take signal from station to antenna. 16 wire feeder line(8 inner and 8 outer) are used. Antenna Tuning Unit(ATU) is used for matching antenna to the feeder and also for splitting power.

Testing and maintenance work is carried out according to a well prepared maintenance schedule. Work is carried out during non working hours. Control System Control circuits arrange the systematic and sequential operation of transmitter , with protection to prevent damage to the components. The control system along with protective circuits co ordinate the operations, protect the transmitter components and give the fault indications and alarms. Functions of control circuits. Turning the transmitter on and off . Sequencing and interlocking circuits. Indication and alarm circuits
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Transmitter recycling circuits. Remote control circuits.

4. GENERAL DESCRIPTION ON DSP PROCESSORS USED IN AIR

There are four main DSP processors used in these equipments. 1. DIGIT CD FM Exciter 2. Audio Processor 3. Codec 4. Digital Satellite Receiver

1. DIGIT CD Exciter Generating the FM signal with Direct Digital Synthesis (DDS) technology .DIGIT CD uses a 32 bit numerically controlled oscillator for program modulation instead of the voltage controlled oscillator (VCO) traditionally used in analog exciter. Problems associated with VCO/PLL technology such as poor low frequency separation and PLL unlock from transient, are eliminated .With the flat low frequency response to below 10Hz,DIGIT CD can pass such low sounds as music synthesizers, pipe organ pedal stops, and large bass drums. Among other performance advantages, DIGIT CD is immune to subsonic transient that can put an analog exciter into a fault mode and force a station off the air Although DIGIT CD is revolutionary, its technology is easy to understand. Figure 1 is a top level block diagram of signal paths. The digital modulator uses a 32-bit Direct Digital Synthesis (DDS) device and supporting circuitry to digitally generate the FM carrier complete with stereo and SCA modulation. A digital tuning number sets the output frequency of the DDS device in the 5 to 6MHz range. Incoming digital program data at a rate of about 500 kHz is used to offset the tuning number to modulate the output signal

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The DIGIT CD can also use an external 10MHz reference for frequency locking in FM booster applications (optional).Outputs of the digital modulator and the synthesized frequency source are converted to the final output frequency in the up converter. Innovative band pass filters, which do not change the FM sideband structure, provide -80dBc or better filtering of the FM signal. The output of this circuitry is a very pure FM signal on the assigned carrier frequency, ready for amplification by the following stages in the exciter/transmitter. The RF power amplifier boosts the band pass filter output power to the range of 1 to 55 watts to drive the FM transmitter. The amplifier uses rugged MOSFET devices and is selfprotecting for load mismatch and over temperature. An optional harmonic filter with RF sample port is available, allowing DIGIT CD to be used directly on the air as a low power transmitter. The digital/SCA interface module accepts AES3 digital audio and multiple RDS/SCA inputs, and includes an on-board DSP stereo generator to feed data directly into the digital modulator. A special look-ahead peak limiter controls over modulation peaks before they can occur, and also allows high average modulation without the distortion caused by composite clipping. The digital/SCA interface module supports standard AES3-1992 data rates and provides a direct, single cable connection from the AES3 stereo output of typical digital coding and processing systems. 2. Optimiod 5500 Orbans all-digital OPTIMOD-FM 5500 Audio Processor can help you achieve excellent audio quality in FM stereo broadcasting. Because all processing is performed by high-speed mathematical calculations within Free scale digital signal processing chips, the processing has cleanliness, quality, and stability over time and temperature that is unmatched by analog processors. The 5500 can be used either as a full-featured multiband FM audio processor (including stereo encoder) or as an extremely high-quality stand-alone stereo encoder operating at 64 kHz to 512 kHz sample rates and offering low pass filtering, overshoot limiting, composite limiting, and an ITU412 multiplex power controller. When used in the latter mode, the 5500 must be driven (usually via an STL) by a full featured FM audio processor (like Orbans 8500) that incorporates pre emphasis aware HF limiting and peak control. OPTIMOD-FM 5500 is descended from the industry-standard OPTIMOD-FM audio processors. Thousands of these processors are on the air all over the world. They have proven that the OPTIMOD sound attracts and keeps an audience even in the most competitive commercial environment.
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OPTIMOD-FM was designed to deliver a high quality sound while simultaneously increasing the average modulation of the channel substantially beyond that achievable by recording studio-style compressors and limiters. Because such processing can exaggerate flaws in the source material, it is very important that the source audio be as clean as possible. For best results, feed OPTIMOD-FM unprocessed audio. No other audio processing is necessary or desirable.

Absolute Control of Peak Modulation The 5500 provides universal transmitter protection and audio processing for FM broadcast. It can be configured to interface ideally with any commonly found transmission system in the world. The 5500 provides pre-emphasis limiting for the two standard pre-emphasis curves of 50s and 75s. Its pre-emphasis control is seldom audibly apparent, producing a clean, open sound with subjective brightness matching the original program. The 5500 achieves extremely tight peak control at all its outputs analog left/right, AES3 left/right, and composite baseband. By integrating the stereo encoder with the audio processing, the 5500 eliminates the overshoot problems that waste valuable modulation in traditional external encoders. The stereo encoder has two outputs with independent level 3. Codec Codec performs coding and decoding operations. 4. Satellite receiver 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. The bandwidth of INSAT-I is 480 MHz in C Band and 80 MHz in S Band. INSAT-II has a bandwidth of 720MHz in C Band and 80 MHz in S Band .It is possible to provide large coverage using satellite. The ComStream ABR202 digital audio receiver is your solution for broadcasting audio by satellite. Applications include radio program and news distribution, point-of-purchase audio with advertising insertion, and data broadcast distribution. The ABR202 continues the worldwide standard for digital audio transmission via satellite. Compared to alternative distribution networks, the ABR202 achieves satellite efficiency savings of 35 to 65%. These savings are realized through a combination of ComStream state10

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of-the-art digital satellite modem and receiver technologies utilizing ISO/MPEG audio compression.

5. DIGITAL FM EXCITER
Harris DIGIT CD, globally the worlds first commercial, digitally modulated FM exciter, employs Direct Digital Synthesis (DDS) technology to generate a signal with true 16bit digital audio quality. Using a DDS device with a direct interface to all standard AES31992 data rates, DIGIT CD makes it possible to maintain an all-digital path from the studio source through the FM modulator. By eliminating all intermediate A/D and D/A conversions, noise and distortion added between the studio source and the output of the digital FM modulator are zero. Although DIGIT CD is revolutionary, its technology is easy to understand. Figure 1 is a top level block diagram of signal paths. Block diagram includes 1) The digital modulator 2) The frequency source 3) The RF power amplifier 4) The digital/SCA interface module.

BLOCK DIAGRAM

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Block diagram explanation:

The digital modulator uses a 32-bit Direct Digital Synthesis (DDS) device and supporting circuitry to digitally generate the FM carrier complete with stereo and SCA modulation. A digital tuning number sets the output frequency of the DDS device in the 5 to 6MHz range. Incoming digital program data at a rate of about 500 kHz is used to offset the tuning number to modulate the output signal. The frequency source uses a crystal referenced PLL synthesizer to generate a low noise RF mixing signal for the up converter. The source frequency can be set either internally by a DIP-switch array, or externally using a 25-bit parallel data interface through a D connector on the back panel of the exciter. The digit CD can also use an external 10MHz reference for frequency locking in FM booster applications (optional). Outputs of the digital modulator and the synthesized frequency source are converted to the final output. Frequency in the up converter. Band pass filters, which do not change the FM sideband structure, provide -80dBc or better filtering of the FM signal. The output of this circuitry is a very pure FM signal on the assigned carrier frequency, ready for amplification by the following stages in the exciter/transmitter. The RF power amplifier boosts the band pass filter output power to the range of 1 to 55 watts to drive the FM transmitter. The amplifier uses rugged MOSFET devices and is self12

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protecting for load mismatch and over temperature. An optional harmonic filter with RF sample port is available, allowing DIGIT CD to be used directly on the air as a low power transmitter. The digital/SCA interface module accepts AES3 digital audio and multiple RDS/SCA inputs, and includes an on-board DSP stereo generator to feed data directly into the digital modulator. A special look-ahead peak limiter controls overmodulation peaks before they can occur, and also allows high average modulation without the distortion caused by composite clipping. The digital/SCA interface module supports standard AES3-1992 data rates and provides a direct, single cable connection from the AES3stereo output of typical digital coding and processing systems. As an emergency feature, one of the analog SCA ports of the digital/SCA interface module can be used as an analog composite stereo input if the normal AES3 path is not available. The digital/SCA interface module can be substituted for the analog/SCA interface module. This allows stations to use the digital exciter now with analog baseband sources, and then upgrade DIGIT to work with an all digital program path later, when their digital studiotransmitter link is installed. The analog/SCA module allows DIGIT CD to be used with analog baseband channels. It provides compatibility with the same composite baseband interface, monaural audio, and analog 57-92kHz SCA subcarrier input port used on the Harris THE-1 FM exciter and many other analog FM exciters. This module converts baseband input signals to the composite digital format needed for the digital modulator. When an AES3 program is available, the digital module may be substituted for the analog module to provide an all-digital path from the studio through generation of the FM broadcast signal.

Features/Benefits
Direct interface to digital sources/STLs eliminates intermediate A/D and D/A conversions which add distortion, noise, and system cost. Digital Signal Processor (DSP) synthesis of stereo provides perfect stereo, with none of the signal degradation resulting from the amplitude and phase limitations of analog baseband.

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Modulator frequency response to DC provides performance unaffected by large transients in program sources (STL carrier squelch, etc.) and elimination of off-air time from AFC/PLL overload or relocks.

Externally Controlled Carrier Frequency Synchronization. Carrier synchronization is an important feature for on-carrier FM booster systems to provide controlled and stable service with a minimum of interaction in the coverage areas of the main and booster transmitters. An optional feature of the new DIGIT CD will allow an external 10MHz synchronization frequency standard referenced to Global Positioning System (GPS) satellites. This approach eliminates the current need to transport a frequency reference subcarrier or tone to each booster. GPS synchronization can provide a large improvement in carrier stability - up to 5 parts in 10-12, depending on the GPS receiver used.

Synchronous AM reduction circuit. The DIGIT CD includes special system optimization circuitry to reduce synchronous AM, no matter where it may originate in the transmitter or output system. This feature can be very useful to reduce the synchronous AM produced in narrowband transmitter stages, and can improve system performance into narrowband filters, combiners and antenna systems.

Exact modulation metering at any frequency ensures true peak modulation level as read from modulation data. Modulation level and linearity are independent of carrier frequency, eliminating need for adjustments when exciter frequency is changed; ideal for N+1 systems where one transmitter serves as standby for other transmitters at same site.

Absolute digital control of carrier center frequency and deviation ensures stability. Because digital circuits cannot drift and do not need adjustment, DIGIT CD works as well after 20 years as the day it is installed

General features
Power Output Range: 1 to 55 watts, user adjustable. RF Output Impedance: 50 ohms, BNC female connector; open and short circuit protected.

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RF Harmonic and Spurious Suppression: Meets or exceeds all FCC and IC requirements and CCIR recommendations for a 55 watt transmitter when used with optional low pass filter. Frequency Range: 87 to 108MHz, digitally programmable in 50Hz increments. Frequency Stability: 150Hz, 0C to 50C ambient temperature range (using internal frequency reference). External Frequency Control: Capable of locking to an external 10MHz reference for use in FM synchronous applications when fitted with optional DIGIT CD Sync Board (992-9850-001). Sync input requirement: 2.82Vp-p or TTL level. Sync input connector: BNC female

6. AUDIO PROCESSORS
Requirements of Audio Processors Improve the subjective listening quality Restricting the bandwidth of the modulated signal and prevent over modulation Prevent adjacent channel interference Facility to change the presets dynamically as per the content of the programme material Control peak modulation in normal programme running

Processors for AM transmitters Multi band compression and limiting Automatic gain control for optimum modulation Provide negative peak control to prevent AM carrier pinch off Prevent overshoot, tilt and ringing in the modulated envelope Prevent excess bass which often leads to bounces while listening to audio Must have facility to prevent slew rate limiting. This is prominent in transmitters, which employs pulse duration modulation (PDM).
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Processors for FM Transmitters There must be high frequency limiting to complement the pre-emphasis employed in the transmitting chain for compensating the losses in high frequency It must provide accurate peak control with a frequency response of +/ - 0.1 dB. The group delay in the processing should not be more than +/-10 degree. Stereo encoder used in the modulator must be capable of meeting this group delay It must provide pre-emphasis and band limiting Ensure the output energy above bandwidth limit is minimum. Typically it is 15 kHz so that the 19 kHz pilot tone is safe guarded .

Processor for Digital Broadcasting Digital Radio has a wider audio bandwidth, up to 20 kHz, compared to FM Analogs 15 kHz. In AM it may be about 5 kHz to limit bandwidth for simulcast transmission. The digital Radio system is designed to provide a 12 kHz response on the AM band. This means that the processor needs to have a basic audio sampling rate of 44.1 kHz or above. These CODECs are normally using lossy techniques for compression. There is no pre-emphasis in the digital audio broadcasting. are greatly reduced. Digital transmission employ simulcast transmission. In case of poor reception in digital, the receiver automatically change over to the analogue . Often a 5 dB gain is given in digital transmitter chain. Hence the CODECs used in the digital and analog chain of such transmissions must take care of the gain difference so that the listener is not put into unpleasant level variations. In digital transmission processors HF boost or peak clipping is employed. The CODEC used also must be such that it creates no artefacts. Without the HF boost, the side effects of FM processing, such as inter-modulation and harmonic distortion

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One of the advantages to the digital channel is the ability to offer wider dynamic range, which allows one to use less processing. This would reduce the RMS average level and sound would be quieter compared to the FM/AM Analog path.

Different stages of audio processing How much processing is required? Audio processing is an art, and how processing is to be applied are depending on the type of content, the targeted audience, and aesthetics of audio. In processing there is a direct trade off among loudness, brightness and distortion. It is possible to improve one at the cost of another. Therefore the most difficult thing in the decision is which parameter to be compromised. The loudness can be adjusted by the listener by changing volume control, but it is impossible to remove the distortion caused due to rigorous processing. The type of receiver the listener has also matters. Even there is a difference in the hearing tolerance in case of women audience. Understand your listener before you decide to go for excessive processing. Too loud and bright sound may not be listened for a long time.

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7. OPTIMOD-FM 2200 DIGITAL AUDIO PROCESSOR

OPTIMOD-FM 2200 DIGITAL Audio Processor is a complete audio processing system for FM broadcast. Model 2200 is configured for analog inputs and outputs. Model 2200-D also includes digital inputs and outputs. FEATURES: Universal transmitter protection and audio processing for FM broadcast. The2200 can be configured to interface ideally with any commonly-found transmission system in the world. User-friendly Interface: A simple liquid-crystal display (LCD) makes setup, Adjustment and programming easy. Front panel bar graphs show metering functions of the processing preset in use. Push one of the clearly labeled soft keys to RECALL a preset, to MODIFY PROCESSING, or to access SYSTEM SETUP Controls. 8 factory-programmed presets, based on Or bans Two-Band and Protection/Limiting Processing Structures. These presets can be modified and saved. 8 user presets to store customized settings. Pre-emphasis limiting for the internationally-used pre-emphasis curves of 50sand 75s. The pre-emphasis control is almost never audibly apparent, producing clean, open sound with subjective brightness matching the original program. Extremely tight peak control; overshoot is limited to 0.3dB! DSP-based stereo encoder (stereo generator) produces a circuit with excellent Specs, high stability, and uncompromising baseband spectrum control. Remote-control, via optically-isolated terminals that can be operated with contact Closures (to facilitate interfacing to older-technology remote controls). Built-in line-up tone generator facilitating quick and accurate level setting in any system and a Bessel Null tone for calibrating modulation. There are two distinct kinds of presets in the 2200: Factory Processing Presets User Presets.

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The 8 Factory Processing Presets include a protection/limiting preset, a two-band general-purpose preset, and 6 other presets derived from the two-band structure. All of the factory processing presets are stored in the 2200s non-volatile memory, and cannot be erased. You can change the settings of a Factory Processing Preset, but you must then store those settings as a User Preset. The factory preset remains unchanged. You may store your new settings in one of the 8 numbered User Presets. User Presets cannot be created from scratch. You must always start by recalling a Factory Preset, make changes, and then store the changes in a User Preset. The Two-Band Structure consists of a slow single-band gated AGC (Automatic Gain Control) for gain riding, followed by a gated two-band compressor and a high-frequency limiter. A two-band equalizer is available before the input of the Two-Band structure. The Two-Band Structure is an improved version of Orbans classic 8100A OPTIMODFM, but with increased high frequency clarity. (This is the same structure used in our OPTIMOD-FM 8200.) It is operated after a phase rotator (time-dispersion filter) to improve its loudness capability by making positive and negative peaks more symmetrical, particularly with voice. The Two-Band Structure has an open, easy-to-listen-to sound that is similar to the source Material if the source material is of good quality. However, if the spectral balance between the bass and high-frequency energy of the program material is incorrect, the TwoBand Structure (when its bass coupling control BASS COUPL is operated toward 0%) can gently correct it without introducing obvious coloration. two-band presets: The Two-Band Factory Programming Presets are designed to help you get on the air quickly. In most cases, they will suit your needs without the need for further adjustment. Or, if you desire, you can always experiment with the LESS-MORE control to fine-tune the processing to your taste. The basic Two-Band preset, 2B General Purpose, provides an average amount of processing. The other Two-Band presets provide a sound tailored for a specific program format. For example, Music-Light produces a very open, unprocessed sound while Music Bass Medium provides a very punchy, clean, open sound. Presets include: 2B GENERAL PURPOSE, TALK, MUSIC-LIGHT, MUSIC-MEDIUM, MUSIC HEAVY, MUSIC+BASS MEDIUM and MUSIC+BASS HEAVY.

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8. OPTIMOD-FM 5500
Competitive OPTIMOD sound in a compact package at the most affordable price ever OPTIMOD-FM 5500 puts coveted five-band and two-band OPTIMOD processing into a single rack unit package and brings it to you at the most affordable price ever. The 5500 replaces OPTIMOD-FM 5300 and 2300, offering the functionality of both processors in a new, cool-running package. Quality sound is what 5500 is all about - sound that attracts audiences by providing a polished, professional presentation regardless of format and source material. Exceptional versatility allows you to adjust the processor's audio texture to brand your audio, knowing that the resulting signature sound will remain consistent, cut-to-cut and source-to-source. Branding builds businesses and no other processors have the consistency to brand your sound like OPTIMODs. The 5500 can also be used as a superb stand-alone stereo encoder with latency as low as 2 ms and full overshoot limiting in both the left/right and composite baseband domains. When used in this mode, the 5500 must be driven (usually via an STL) by a full-featured FM audio processor (like Orban's 8600) that incorporates preemphasis-aware HF limiting and peak control. In both modes, the 5500's stereo encoder helps deliver a transmitted signal that's always immaculately clean and perfectly peak limited, with full spectral protection of subcarriers and RDS/RBDS regardless of the amount of composite limiting. The 5500 is the ideal choice for network broadcasters who process with Orban's flagship OPTIMOD-FM 8600 at the network origination point and who need a processor at every transmitter to eliminate STL overshoots (using the 5500's stand-alone stereo encoder mode) and/or to process local insertions while also eliminating network STL overshoots (using the 5500's audio processor / stereo encoder mode). Moreover, the 5500's two modes make it easy for large government and network broadcasters to manage its inventory of spares because any 5500 can be used as a stereo encoder with or without audio processing. Available in both modes, the built-in, defeatable ITU BS412 multiplex power controller allows the 5500's output to meet even the most stringent European government regulations. New in 5500 is a 10 MHz frequency reference input allows the stereo pilot tone frequency to be locked to GPS or another high-accuracy frequency standard. This improves the performance of single-frequency networks in areas where coverage of the transmitters

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overlaps. Also new is a cool-running, energy-efficient switching power supply and use of the latest dual-core DSP chip technology from Freescale Semiconductor. With the 5500, your signature sound is just a preset away. An easy, one-knob Less/More adjustment allows you to customize any factory preset, trading cleanliness against processing artifacts according to the requirements of your market and competitive environment. Full Control gives you the versatility to customize your audio further. And, if you're a hard-core processing expert, you can explore Advanced Control to tweak presets at the same level as Orban's factory programmers. This versatility makes the 5500 a superb choice for any format. Its five-band processing is ideal for any pop music format (even the most competitive and aggressive CHR), while phase-linear two-band processing yields ultratransparent sound for classical, classic jazz, and fine arts formats. 5500's optimized technology ensures unusually high average modulation and coverage for a given level of subjective quality. Unlike many lesser processors, the 5500 handles speech particularly well it's always clean, even when you process for loudness. Versatility doesn't stop with sound. The 5500's built-in stereo encoder, AES/EBU digital inputs and outputs, and analog I/O permit hassle-free interfacing to any broadcast plant, whether the 5500 is located at the studio or the transmitter. Tight band limiting to 15 kHz means you can use any uncompressed digital STL to pass 5500-processed audio from studio to transmitter without compromising on-air loudness - there's no need to use STLs having 44.1 or 48 kHz sample rates. If you want to locate the 5500 away from the studio, you'll be pleased by its three separate remote control ports - GPI contact closures, RS232 serial, and built-in Ethernet for TCP/IP networks. The serial and Ethernet ports are supported by the supplied 5500 PC Remote Control application. This Windows 2000/XP/Vista/7 application allows you to do even more with the 5500 than you can do through its front panel, making remote control a pleasure. Built-in clock-based automation lets you automatically day part the processing. You can control many other 5500 operating parameters too; the 5500's feature set fully exploits the processor's DSP and computer-based control architecture. To ensure absolute accuracy, you can automatically synchronize the clock to an Internet timeserver. If you're concerned about latency because you need to feed live talent headphones off air, be assured that the 5500's ultra-low-latency (5 ms delay) processing will keep the most finicky talent happy. Or use optimum latency (15 ms delay) processing for the most competitive sound with delay that's still low enough to satisfy most any talent. LOCATION OF OPTIMOD-FM
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Optimal Control of Peak Modulation Levels

The audio processing circuitry in OPTIMOD-FM produces a signal that is preemphasized to either the 50s or 75s standard pre-emphasis curve. It is precisely and absolutely high-frequency-controlled and peak-controlled to prevent overmodulation, and is filtered at 15 kHz to protect the 19 kHz pilot and prevent distortion caused by aliasing-related non-linear crosstalk. If this signal is fed directly into a stereo encoder, peak modulation levels on the air will be precisely controlled. However, if the audio processors signal is fed to the stereo encoder through any circuitry with frequency response errors and/or non-constant group delay, the peaks will be magnified. Peak modulation will increase, but average modulation will not. The modulation level must therefore be reduced to accommodate the larger peaks. Reduced average modulation level will cause reduced loudness and a poorer signal-to noise ratio at the receiver. Landline equalizers, transformers, and 15 kHz low-pass filters and pre-emphasis networks in stereo encoders typically introduce frequency response errors and nonconstant group delay. There are three criteria for preservation of peak levels through the audio system: 1) The system group delay must be essentially constant throughout the frequency range containing significant energy (30-15,000Hz). If low-pass filters are present, this may require the use of delay equalization. The deviation from linear-phase must not exceed1 from 3015,000Hz. 2) The low-frequency 3 dB point of the system must be placed at 0.15Hz or lower (this is not a misprint!). This is necessary to ensure less than 1% overshoot in a 50Hz square wave and essentially constant group delay to 30Hz. 3) Any pre-emphasis used in the audio transmission system prior to the stereo encoder must be canceled by a precisely complementary de-emphasis.

Best Location for OPTIMOD-FM

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The best location for OPTIMOD-FM is as close as possible to the transmitter, so that its stereo encoder output can be connected to the transmitter through a circuit path that introduces the least possible change in the shape of OPTIMOD-FMs carefully peak-limited waveform a short length of coaxial cable. If this is impossible, the next best arrangement is to feed the 5500s AES3 digital output through an alldigital, uncompressed path to the transmitter's exciter. Use the 5500s left and right analog audio outputs in situations where the stereo encoder and exciter are under the jurisdiction of an independent transmission authority, and where the programming agencys jurisdiction ends at the interface between the audio facility and the link connecting the audio facility to the transmitter. (The link might be telephone/post lines, analog microwave radio, or various types of digital paths.) This situation is not ideal because artifacts that cannot be controlled by the audio processor can be introduced by the link to the transmitter, by transmitter peak limiters, or by the external stereo encoder.

9. AUDIO CODEC

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The Codec will be Rack mountable (19 inch standard rack) for operation over BRI ISDN lines. The codec should also have V.35 interface option. The Codec have front panel control and should be supplied complete with cable, connectors and accessories. It will de compatible with the reputed make codecs all over the world. The Codec has following features and specifications: Features 1. 2. 3. 4. 5. High quality, bi-directional, Digital Stereo Audio Codec Built-in V.35 interface option and ISDN terminal adapter, with Euro ISDN S/T interface. Capability for 64 and 128 Kbps communication over both ISDN and V.35 interface Link. Capability of independent operation over both B channels. Over ISDN Link, Codec should have the feature of Automatically Receiving the audio

after detecting the configuration and parameters of incoming audio. 6. Codec should have the capability of sending audio using one coding algorithm and

receiving audio in different coding algorithm. 7. Auto switching between V.35 interface link and ISDN link in case of failure of either of

the link. 8. 9. 9. 10. 11. 12. Multiplexing between Headphone monitoring. Headphone monitoring. Monitoring of Send and Receive Audio through VU Meter or LED Bar graph etc. Codec should be software upgradable and software up gradation must be free of cost. Memory for storing phonebook entries. Technical Specifications two ISDNB channels for 128 kbps operation.

Technical specifications: 1. Analog Inputs / Outputs Two independent electronically balanced channels
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2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13.

Connectors for Analog Audio XLR Input Level (nominal) 0 dBu Input Level (Max.) 10 dB above nominal level Output Level (nominal) 0 dBu Output Level (Max.) 10 dB above nominal level Digital Audio interface AES / EBU Output impedance Less than 100 ISDN Interface ETSI ISDN S/T interface ISDN Connector RJ 45 PSTN connector (Optional) RJ 11 Other Interface option: V.35 Coding Algorithm G711, G722, (64 kbps) MPEG 1 Layer II & Layer III (128 kbps) 4 AACLD

MPEG 14. 15. 16. G711 17. 18. 19. 20.

Analogue to Digital Conversion Upto 24 bits . Sampling Frequency 16, 32 , 48 KHz selectable Freq. Response (0.2 dB) 50 Hz to 15 KHz for MPEG 1 L II ,20 Hz to 20 KHz for

MPEG 1 Layer III and MPEG 4 AAC-LD 50 Hz to 7 KHz for G722 50 Hz to 3 KHz for

Distortion at maximum level Dynamic range Data rate Display > 95 dB

Less than 0.2%

64 /128 kbps Back lit LCD Screen

10. ARCHITECTURE OF A SATELLITE COMMUNICATION SYSTEM

Satellite Communication System comprises two elements : a. Ground Segment
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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 uplink. 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 uplink 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. RADIO NETWORKING TERMINAL The various All India Radio stations spread throughout the nation are required to relay certain programmers which are originating from Delhi. Similarly there are certain programmers which are originating from capital stations are relayed by the other stations in that region. In order to link Delhi and capital stations with other AIR stations, RN through INSAT is not only cost effective but also provide the good technical quality as compared to DOT lines and SW linkage. The Radio Networking terminal located at AIR stations receives S-Bandor C Band transmissions. The programmers thus received after processing are fed to the transmitter for broadcast purposes. Thus RNT acts as the ground terminal for satellite signal reception. The block diagram of S-band RN terminal Digital Satellite Receiver ABR 202A
The ABR202A is the latest generation replacement receiver for the legendary ABR professional audio product line. The ABR202A is the latest generation replacement receiver for the legendary ABR professional audio product line. Compared to the ABR202, the ABR202A saves rack space by utilizing a 1RU chassis, provides additional convenience with front panel and Telnet capability. CDquality audio, RS232 asynchronous data, receiver control signals and cue signals (relay closures) are standard features on the ABR202A. The ABR202A uses the ISO/MPEG Layer II compression algorithm, an industry standard with international support. Capabilities 26

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BPSK or QPSK operation at userselectable data rates of 64, 96, 112, 128, 192, 256 or 384 Kb/s Mono and dualmono (stereo) modes Quick channel access using SCPC/FDM allowsquick, nearly transparent audio channel changes for receiving multiple channels Addressable for complete configuration and operation from uplink via an inband control channel

Control channel and remote control ports are compatible with all existing DAC700 and ABR200/202 audio network products Relay control port with eight contact closures for control of downlink equipment, each relay independently controlled at the uplink Seven TTL inputs for local channel changes and auxiliary equipment monitoring Asynchronous RS232 data port operating at speeds of 1200 to 9600 baud, providing simultaneous audio and background data Builtin performance monitoring and automatic fault reporting Builtin audio, relay control and data port diagnostic

TECHNICAL SPECIFICATIONS

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BLOCK DIAGRAM

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