This is a set of burned contactor fingers on a Harris HS-4P 30 amp RF contactor:
Harris HS-4P RF contactor with burned finger stock
The back story is this:
The contactor in question is at the base of Tower #3 of the WBNR (1260 KHz, Beacon, NY) antenna array. This is the tallest of all the towers, at 405 feet. As such, it gets struck by lightning often. There was at least one occasion where one of the inductors in the ATU got “sucked in” due to the huge magnetic field of a high current strike. It is not at all surprising to me to find other component issues in this ATU. Because of the burned contacts, I’d suspect that the station was switching modes under power, but I didn’t see that happening today.
The problem manifested itself in very high SWR after changing over from day pattern to night pattern. This did not occur every time, in fact, it only occurred once in a great while at first. Then, over the last couple of months, it began occurring more and more often. Since the snow drifts are now down to a manageable six to eight inches, it was a good day to go out and do some exploring.
First of all, I put the station into nighttime mode just to confirm that there is still an issue. The transmitter, a Broadcast Electronics AM1A showed very high SWR and carrier fold back. Left it in night pattern, but turned it off and took a walk, not a drive, to Tower #4 which is all the way at the bottom of a hill, near the old City of Beacon landfill. I figured that I would check that one first, then look at Tower #3 on the way back. When I got to Tower #3, I found the issue right away.
Fortunately, I was able to salvage a set of contact and contactor bar from another relay in the same ATU that was not using them.
Burned RF contactor bar
The night pattern is only 400 watts, but these are tall towers, 225 degrees, therefore current and voltage are high at the base. In fact, the slightest change at the base of the nighttime towers will greatly upset things.
This is the repaired contactor. I will say, the EF Johnson RF contactors are easier to work on. Those are the ones with the big rocker bar across the top and two solenoids on either side. All of the wiring, status switches and contacts are exposed and easy to get to. This one, not so much. This is the BE AM1A transmitter
Broadcast Electronics AM1A transmitter
It is not a bad unit, compact, sounds good, is reliable, etc. In order to work on the power supply or anything in that top cabinet, the whole thing needs to be removed from the rack and taken down. I suppose that is my only gripe about the thing.
I received a great email from Michael “Catfish” Dosch, console designer for Telos / Axia Audio Systems. The email was sent in response to a comment I posted on the WEBE WICC Studio Build Out post. I thought the email was very interesting and informative, presenting a perspective that most broadcast engineers do not often see or appreciate. I asked Mike if I could use it as the basis for a blog post and he agreed. I am not going to blockquote the entire thing, but here are the unedited email and pictures.
Quote:
“Ken said you had a concern about the ruggedness of our consoles as compared to the old PR&E boards. You might not know this, but I was with PR&E before joining Telos. In fact, I designed many of those old PR&E boards. I guess that makes me an old console designer. Ahem.
The Element design is more modern in construction and styling, but it is no less rugged than those old PR&E boards. In fact, you could stand on it if you wish. The top is a 1/4-inch machined aluminum plate supported by structural aluminum ribs on the backside. The chassis itself is made of custom extruded aluminum structural pieces and machined aluminum side panels. The flat sheet metal on the bottom is not structural, it’s only a cosmetic cover. You’ll see a lot of folded sheet metal in other consoles because it’s cheap and easy. But it’s not as rugged as the Element approach which is why we chose to go with a more complex and expensive mechanical design.
One very visible difference between Element and PR&E consoles is the use of Lexan on the front panels (PR&E would use aluminum or steel on the top panel). This might seem less rugged, but it is actually chosen because it is a more durable surface than painted and silkscreened metal. It is more scratch resistant and it is rear-printed so that the markings never wear out. Silkscreens would wear off under heavy use — particularly next to faders and monitor controls — and look horrible over time. These Lexan panels will look just as good after 15 years as they do now.
But Lexan for all of its durability has its own limitations. The edges can crack under abuse. This is why you see many older Wheatstone consoles (they have used Lexan overlays for many years) with cracks and tears at the very edges of the plastic. This is particularly troublesome in the fader slot. A frayed edge on a faders slot can cut your fingers. That is mighty unpleasant! So when we decided to use Lexan, we wanted to have all the benefits and none of the drawbacks.
So we designed a machined recess on each channel that allows the Lexan insert to have its outside edges protected by the aluminum. More obvious are the bezels around each button and even the fader slot. Look carefully and you will notice that all of the control bezel edges are above the lexan. The edges of the lexan are not exposed and therefore not prone to cracking, chipping, or splintering.
Axia Audio console control surface, Courtesy of Axia Audio / TLS corp
In this drawing, you can see the panel without the lexan. The machined pocket to protect the outer edges of the Lexan, plus the raised edges of the button and fader bezels to protect the edges around the holes. These button guards are also designed to prevent accidental actuation of the buttons. And while the guards are designed to protect accidental actuation, they never hinder deliberate activation. Notice the guards at the sides of the ON/OFF buttons and not on the top and bottom. Even operators with long fingernails will have no problems with these controls. The small round keys are engaged with a light touch of the fleshy pad of the fingertip.
Yes, I think we built great consoles at PR&E. But Axia was a fresh start, a chance to raise the bar even higher, by retaining many of PR&E’s better attributes and improving upon some of the weaker areas. DIPswitch configuration has been replaced with the convenience of the web browser. Spill-prone motherboards and electronics have been eliminated from the control surface. Unreliable monitor pots have been replaced with optical rotary encoders rated for 5,000,000 rotations.
And you asked about the faders. This is a particularly important component in a broadcast console. PR&E used Penny & Giles faders for many years. We used their Series-4000 faders in the X-Class consoles (BMXIII, AMX, ABX and STX). This was their top-of-the-line fader at the time and performed beautifully… for a year or two. Then our clients started experiencing field failures at a very high rate. We worked with P&G on a return/rework/replace program that took years to clean up. Our clients were disappointed and we spent a fortune making things right. It was that experience that caused us to begin searching for alternatives.
The market for high-end faders is quite small. There are tons of consoles out there for live sound, home recording, etc., but these products are sensitive to costs and generally use very cheap faders. There just aren’t enough high-end recording consoles or broadcast consoles being built to attract a lot of fader vendors. After a lengthy search, I disqualified all but two fader companies: P&G and a Japanese firm by the name of Tokyo Ko-on Denpa (TKD). I assigned one of our engineers to create a set of environmental and life-cycle tests to see if the TKD faders could keep up with the P&G faders. We were all shocked by the results.
Out of 100 of each type tested in various environmental conditions and physically cycled for the accelerated equivalent of 10 years of heavy use, we had only one TKD fader failure, compared to more than half of the P&G Series 4000 faders! We defined “failure” as any deterioration to specifications or any discontinuities. All the failed units had discontinuities (audio dropouts). We were able to clean the failed TKD fader and it passed the retest. About half of the failed P&G units were cleaned and passed the retest. So in the end, the practical results were TKD 100% good and P&G 75% good. Not what I expected at all.
We then designed a TKD fader into the Radiomixer. We watched the customer support logs carefully for problems. Out of the first 1,000 console channels shipped, we saw one TKD fader failure during the first year. Warranty replacement of course. The failure rate did not increase with use as you would normally expect. We were seeing consoles with 3 or 4 or 5 years of heavy use with no fader problems at all. I have heard of 20 year old Radiomixers with original faders still working great.
One particularly elegant feature of the TKD fader used in Element is a side loaded wiper arm. This prevents liquids or other foreign matter from spilling into the fader slot and directly into the fader element. This feature alone is probably responsible for extending the useful life of the faders by a considerable amount. Of course, these can be disassembled and cleaned just like a professional fader from P&G, they just don’t need it so often.
Some have the misconception that if a fader is not P&G, it must be cheap. Actually, these are very expensive faders, about the same cost as P&G. But they are so well made, I think they’re worth every dollar. I know there are still some folks out there who remember P&G’s glory days when they made bullet-proof faders. I remember fondly those days as well. But in my experience, the TKD fader is superior to the equivalent P&G fader. We feel so confident, that we warrant all Axia consoles for 5 years, including all components….”
End Quote
That is a great explanation of what goes into one of these consoles right from the designer. The pictures are courtesy of Axia Audio / Telos Corporation and special thanks to Mike for taking time out to give us a glimpse into the mind of a console manufacturer.
In almost every broadcast company I have ever worked for, there is always some communication dysfunction between management and the technical staff. It is perhaps, inevitable given the different cultures. Most managers come from a sales background, where everything is negotiable. The engineering field is fixed in the physical world, where everything has two states; right/wrong, on/off, true/false, functional/non-functional, etc. Try to negotiate with a non-functional transmitter, let me know how that works.
Engineering eggheads often couch their conversations in technical terms that tend to confuse the uninitiated. While those terms are technically correct if I said “Радио генератор инвалида.” You’d say “Huh?” and rightly so. If the receiving party does not understand the terms used, it is ineffective communication.
The other mistake I often see, which irritates me beyond reason, is long rambling e-mails or other documents that fail to come to the point, directly or otherwise. Time is a precious commodity, wasting other people’s time with long needless diatribes is ineffective communication. Likely, the recipient will not read the entire thing anyway. If a person gains a reputation for generating huge amounts of superfluous verbiage, then it only becomes so much background noise to be filtered out. When I was in the service, I went to a class called “Message Drafting.” This was back in the day when everything was sent via radio. The gist is to get the complete idea across to the recipient with as few words as possible. Think: “ENEMY ON ISLAND. ISSUE IN DOUBT.” Clear and concise, six words paint the picture.
The key to effective communication is to know your audience. If you are writing a white paper for a bunch of MIT graduates, use all the appropriate technical terms. More often than not, however, as broadcast engineer, our intended audience is more likely station management and/or ownership. Their backgrounds may be in sales and finance.
In order to get those technical ideas into the heads that matter, a good method is to use the lowest common denominator. If the general manager is a formerly used car salesman, car analogies might work. The transmitter has 200,000 miles on it, the tower is rusting out like a ’72 Pinto, and so on. Almost anything at a transmitter site can be compared to a vehicle in some way. Find out what the manager’s background is then figure out what language he or she speaks and use it. You may say, “But he is the manager, it is up to him (or her) to understand this stuff.” You are not incorrect, but that is not how the world works.
Secondly, use brevity in communications. Managers are busy, engineering is but one aspect of the radio station’s operations. If written, provide a summary first, then expound upon it in follow-up paragraphs if required. If you are in a meeting, give a brief presentation and then wait for questions. Always have a high ballpark figure in mind when the inevitable “How much?” question comes along.
Don’t assume that the manager will follow through with your ideas up the chain of command, always follow up a few days later. If it is important, continue to ask, in a friendly way, if there is any progress on the issue.
There are so many ways to communicate these days that failure to communicate is almost unfathomable. One additional thought, if you find yourself out of the loop, find a way to get back in or you’ll find yourself looking for a new job.
Looks like the AM HD Radio™ juggernaut continues… To sink under its own technical faults that is. According to the list the number of AM stations running IBOC in the US is now down to 233 stations from a high water mark of 290 or so. That represents a total of just 4.8% (233 IBOC/4782 Total stations) of all US AM radio stations. On a related note, Bob Savage of WYSL 1040, Rochester, NY has a good idea:
I’ve always said – if you want to see surprising new life in the AM band, s**t-can the stupid irrelevant NRSC pre-emphasis filter and allow stations to run to 15 kHz during daylight hours and 10 kHz nighttime. Mandate C-QUAM in all receiver and receiver devices.
It will sound better than HD, be more robust, and cause far fewer problems. Plus it wouldn’t obsolete a single radio out there, while making a whole bunch of them sound a whole bunch better.
It is so simple in concept, so easy to implement, with almost no expense to AM stations. Again, Mr. Savage:
Most software-based processors have com ports which can be addressed by a remote control system like Sine Systems, so when the power gets reduced at evening pattern change, the bandpass can be changed at the same time…..vice-versa at sunup. No biggie.
For older setups a simple outboard relay and rolloff network could accomplish the same thing. It’s a little more complex but again, not a big deal.
Wow. Facepalm.
Wish somebody had thought of that a few years ago, it might have saved several million dollars and we’d have a different AM band today.
There are a few shoehorned AM stations around here that might be adversely affected by 15 KHz daytime bandwidth, but those are few and far between. By and large, most stations are spaced correctly where this could really work and work well. It certainly would not generate the chaos that AM HD Radio™ has.
