Worlds Largest Wooded Radio Tower

Worlds Largest Wooded Radio Tower

The radio tower located in Gliwice, Poland (pronounced Glee Veet Say) is believed to be the tallest wooden structure in the world at 387 feet.  Constructed in 1935 by the German company Lorenz,  with help from Siemens, Telefunken, and others, it went into service on December 23, 1935 to replace a smaller transmitter located on Raudener Street in Gliwice.

The tower is a masterpiece of wood engineering,  constructed with impregnated Larch wood with a fascinating lattice structure of  beams. All connections were made with bolts made of ore,  because bolts of iron would have absorbed the transmitter signals. The larch wood was chosen for it's resistance to vermin and atmospheric conditions.   There is not a single iron nail in the tower.

Most radio towers built in Germany before 1945 were built of wood and the Gliwice tower is the only still standing.  The rest  were demolished between 1945 and 1983.  Today the tower supports multiple transmission antennas for mobile phone services and a low power FM transmitter.

The tower is diligently maintained, preserved and repaired every year. To reach the top, workers must climb a ladder with 365 steps.   Scientists from the Silesian University of Technology expect the tower to last another 20 years. The tower looks especially attractive after dusk, illuminated with eight massive spotlights and is visible for many miles  creating a lasting impression with visitors.

On August 31, 1939, the Germans staged a fake "Polish" attack on the station which was later used as justification for the Invasion of Poland.  During the cold war the Gliwice tower was used for jamming western medium wave transmitters broadcasting in Polish.

History Of W2XBS

History Of W2XBS

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

During World War II, RCA diverted key technical TV staff to the U.S. Navy, who were interested in developing a TV-guided bomb. WNBT's studio and program staff were placed at the disposal of the New York Police Department and used for Civil Defense training. Public programming resumed on a small scale during 1944.
In 1946, the station changed its frequency from channel 1 to channel 4 after VHF channel 1 was removed from use for television broadcasting. (Channel 4 was previously occupied by WABD before moving to channel 5.) The station changed its call letters on October 18, 1954 to WRCA-TV (for NBC's then-parent company, RCA) and on May 22, 1960, Channel 4 became WNBC-TV New York.

I've Been Working On A New Callsign Logo

I've Been Working On A New Callsign Logo

DuMonts Electronicam

DuMonts Electronicam

I have always had an interest in early television. Whenever an old kinescope or early black and white videotape program comes on, I am there to see it. Innovators in early television like Ernie Kovacs, fascinate me. Imagine what Ernie could have done with todays technology.

Unfortunately, you don't get to see much of these pioneers work on the air anymore. Occasionally something will pop up on one of the more obscure cable networks. You can catch one every so often on a PBS retrospective. I recently saw a few old kinescopes of the Jack Benny program on one of the new digital sub-channels like Retro TV or This TV.

Recently, I was watching an episode of The Honeymooners on DVD here in the shack. Every time I playback one of these classic episodes, at the tail of the credits is "Filmed on the DuMont Electronicam System". Just what was Electronicam?

The Electronicam system was developed by engineers at DuMont. The DuMont Laboratories were founded in 1931 by Dr. Allen B. DuMont. He and his staff were responsible for many early technical innovations including the first consumer all electronic television set in 1938. Electronicam was the brainchild of DuMont engineer James Caddigan.

Electronicam was a recording system that shot an image on film and video simultaneously through a common lens. It was developed in the 1950's before Ampex came out with the first videotape recorders. Since the system shot directly to film, the quality was much higher than that of the commonly used kinescopes at the time.

Electronicam is actually fairly simple. An image is shot through the lens. A beam splitter behind the lens then sends one half of the image to the film camera mounted on the side of the television camera. The other beam split off to the side onto another mirror at a 45 degree angle to the image tube of the video camera. In the control room, an engineer threw switches to mark the film footage electronically, identifying the directors different camera "takes". Electronicam had a 1.3:1 aspect ratio and a relatively small parallax error.

Here, camera operators man three of the Electronicam "pickup units," each of which consisted of a TV camera and a Mitchell 35mm film camera. Mounted together side by side, the twin cameras allowed for simultaneous electronic and emulsion capture. The video material was transmitted live to a control room where the director selected edits and camera angles, much in the same manner employed today on three camera newscasts.

The director's video editing choices were later fed into kinescope equipment to create a "tele-transcription", a blueprint of how the program appeared during broadcast. The tele-transcription was then synchronized to the 35mm film reels that were sent off for editing.

Electronicam supported either 16mm or 35mm film. These editing guide kinescopes are the only surviving material from the "lost" Honeymooners episodes.

The archival film used on the Electronicam system was Kodak's Tri-X black and white stock.

The Electronicam TV/Film system permitted the actors to perform with the spontaneity of a live performance, while perserving the program on high-quality film. The audio was either magnetic fullcoat or an optical soundtrack negative.

The Honeymooners marked the first time that a prominent television program was photographed with the Du Mont Electronicam TV/film system. I Love Lucy, Captain Video and His Video Rangers, among others, used the Electronicam system.

Here is a studio photo of the Electronicam system in use during the shooting of a program at WABD Television.

If this system was developed earlier, perhaps many more of the classic DuMont programs would have been preserved.

An Audiophile Is Born

An Audiophile Is Born

I was always interested in audio. My dad was a ham as far back as I can remember, and he always had a sound system in the house. He was an avid fan of HeathKit at the time, and had a few audio amplifiers around. He gave me one that had a rectifier tube, two 35W4's and a pair of 50C5 finals. I loved the blue glow in those tubes. Unfortunately, it had a hot chassis and would occasionally bite me.

My parents used to show pictures of me playing records when I was only 5 years old. I guess it started getting serious when I was in grade school. My friend Mark had the usual "kid" type tape recorder. I forget the brand name, but you know the ones. Battery operated with direct drive 3 inch reels so the tape speed increased as the diameter of the take up reel increased. Similar to the ones that self-destructed each week on Mission: Impossible. It had one of those button type microphones. I had one too. I don't remember who made it, but it was tan with a flip up cover, and I distinctly remember it having reels with the Sony logo on them.

Then during the summer of 1966, Mark got new machine. It was a Panasonic RQ-501S.

It had five inch reels, capstan drive, and it was bi-directional. No flipping reels. It had an impressive frequency response for an AC/DC machine, it had manual or auto level control, aux input, speaker output, a VU meter, and more. I had to have one.

Christmas of 1966 Santa brought me an RQ-501S. This was the start of yet another hobby. Now not only was I recording music, but Mark and I started collecting, mind you this was the mid to late sixties, television theme songs.

During the summer, we would get together at each others houses and record network commercials promoting the fall shows. Plus spots like "NBC Week" and the like. We both traded spots and theme songs. I still have all those theme songs. (Except now they live on a hard drive) We would have endless conversations regarding the sonic quality of different types of Scotch recording tapes, and what happened on the last episode of Lost in Space that we recorded.

After grade school, Mark and I lost touch as he went on to a military school. And along the way in years to come, my RQ-501S got lost in a move.

As a side note at this point, two things. First, after a year of watching E-Bay, I finally got another RQ-501S. Six months later, another appeared on E-Bay, this one, with the BOX. That's important. Got that one too. Recently I acquired one of its close cousins, the RQ-156S . My life is complete.

Secondly, Mark had a Panasonic extension speaker for his machine. I don't know the model number of the speaker, but it was really cool, because it hung from the ceiling on a string, and was shaped exactly like the Jupiter 2 from Lost in Space. I know Panasonic made it, but I never found one. If you happen to know anything about this speaker, please forward me the info.

Now back to your regularly scheduled story.

Soon I was in high school. And it was here that I discovered high-end audio, and learned exactly what an audiophile was. It was in the library of the school where one day I discovered "High Fidelity Magazine" which began publication back in 1951. It was published not to far away in Great Barrington, Massachusetts. The school had all the back issues. And I read all of them. During that time the library got some money for new subscriptions and added "Stereo Review.

A whole new world opened up to me in the pages of those magazines. Whenever I wasn't in a class, I was in one of those magazines. It was in these magazines where I got introduced to the likes of H.H.Scott, Fisher, Pioneer, JBL, Stanton, Shure, Thorens, Bang & Olufsen, Teac, Ampex, Studer-ReVox, Marantz, McIntosh, and a long list of others that manufactured equipment I could only dream about owning.

I devoured the terminology and esoteric terms like RMS amplifier values, damping factors, dB, VU, tracking force, anti-skating, the advantages of a Shibata stylus or an eliptical, frequency response, sensitivity, selectivity, bass reflex, and more. All that geeky stuff. I couldn't get enough of it.

I set a goal for myself. I had to have a high-end audio system. After a year or so and a full summer working, I accumulated enough money to buy a system.

I spent a rather large sum of money, and came home with a car full of gear. I got a Pioneer SPEC-1 amplifier (300 watts/ch) with the matching SPEC-1 pre-amp and the matching FM tuner. I had JBL L-50s for the front and a pair of what would prove to be rather inefficient smaller Advent speakers for the rear. Yes, I went quad. Well, not exactly. I was hooked at the time on a rather crude synthesized quad running a circuit I built designed by David Hafler.

Radio Shack came out with a box later on called a "Quatravox" that would do the same thing. I ran the rear channels with an older Pioneer receiver.

I added a Technics manual turntable (no automatics or semi-automatic for me) with a high-end Audio-Technica cartridge with a Shibata stylus. Two tape decks, a Teac open reel deck, and a ReVox cassette deck. SAE Noise Reduction processor,and a 24 band equalizer with a graphic display, a Technics metering unit for monitoring amplifier and pre-amp outputs, as well as detector output from the tuner, and a few miscellaneous items like an A/R stylus gauge, a Disc Washer, etc. I was playing audio in a big way. I even had a rotatable 10 element antenna for FM DX'ing.

At the time, I lived not to far away from WHRL 103.1. It was one of the first FM Stereo stations to come on the air in upstate New York. It programmed beautiful music, as did a few others. I became fascinated with Drake/Chenault, and Schulke's "Matched Flow" beautiful music formats.

I was always a fan of Top 40 music, but when I got the new gear, I was constantly looking for something new to listen too. I grew to like selected pieces of classical music, blues, and jazz. I became a big fan of Wendy Carlos, Tomita, Vangelis, and other electronic music artists. I made weekly trips to the record stores in the area.

My friends and I at the time would compare opinions on the latest albums we purchased. We would share our music with one another on open reel tape or the occasional cassette. The subject of copyright never even crossed our minds. We would periodically create "mix" tapes for each other. If I got a reel from a friend and I liked it, I would generally pick up the record at the store the next time out. (See it works) I had around 500-700 albums in the collection in no time, from a lot of different musical categories.


Through my interest in 11 meters, (yes I was on 11 meters for a few years, but then weren't we all?) a radio friend introduced me to a friend of his that lived down the street from him. His name was Joe, and he was also into high-end audio. We both hit it off right away, and began not only talking about the aspects of various new pieces of audio gear at the local shop, but about the music. We would go over to each others houses and listen to music for hours on end, discussing how certain tracks were mixed, or why my JBL's seem transparent compared to his Bose systems that he always thought colored the music a certain way.

He was going into college at the time and soon joined the radio station there. He was attending RPI in Troy. The college station there is WRPI, a 10 kilowatt FM outlet on 91.5. He asked me to join him in producing his weekly program.

Now, when you are an audio geek, there is nothing better than playing radio at a technology college with all the latest toys. We both enjoyed taking our listeners on a musical journey for three hours a week. Both of us always longed for the day we could own Technics SP-1 turntables like the station had. We both also volunteered at the local classical music station WMHT which has a reading service for the print handicapped. We got to hone our on-air talents reading the local papers. Not to mention the PBS television station down the hall, we got to play with a lot of really cool equipment.

It was during the time at WRPI that I discovered artists like Genesis,Passport, Renaissance, Pentangle, Weather Report, Keith Jarret, and a long, long list of others.

On what proved to be our last show, we played tracks from our favorite artists. Joe was a dyed in the wool Yes fan. I picked a few tracks from Camel. One of their albums, Moonmadness, has a rather long track called "Luner Sea", that has one of the best synthesizer solos you'll ever hear.

One artist we both enjoyed was Renaissance. Our favorite album was "Scheherazade and Other Stories". Favorite track? Trip To The Fair.

Sadly, Joe passed away from leukemia during his sophomore year. The world lost a budding architect. Today my equipment sits idle in a rack here in the shack. I hope to get it going again some time soon.

I miss those days. It just doesn't seem to be the same today. I love digital technology, but I miss the sound of analog. I can do things in the digital domain that used to take a rack full of equipment. (Don't tell anybody, but right behind me right now, is a rack full of Behringer audio processors, EQ's, Digital reverbs, an Optimod, and few other things).

Today everyone seems to be in their own little digital world. Everyone has a white wire leading down to the iPod in their pocket. I don't see anyone talking about the music, let alone the audio equipment.

Maybe they discuss the music and the gear via text messaging.