Listening In: Radio And The American Imagination by Susan J. Douglas

By Susan J. Douglas

Few innovations evoke such nostalgia, such deeply own and brilliant stories as radio—from Amos ’n’ Andy and Edward R. Murrow to Wolfman Jack and Howard Stern. Listening In is the 1st in-depth heritage of the way radio tradition and content material have kneaded and elevated the yankee psyche.

But Listening In is greater than a historical past. it's also a reconsideration of what hearing radio has performed to American tradition within the 20th century and the way it has introduced a very new auditory size to our lives. Susan Douglas explores how listening has altered our day by day studies and our personal generational identities, cultivating assorted modes of listening in numerous eras; how radio has formed our perspectives of race, gender roles, ethnic obstacles, kinfolk dynamics, management, and the iteration hole. along with her trademark wit, Douglas has created an eminently readable cultural historical past of radio.

"Douglas’s tremendous publication bargains a cosmopolitan background of radio listening." —Journal of yank heritage

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As might be surmised from the name, an electromagnetic wave consists of an oscillating electric field and a magnetic field. It can exist in a vacuum and does not need a medium in which to travel. 47 shows one and a half cycles of an e-m wave. The electric (E) and magnetic (H) fields are at right angles and both are at right angles to the direction of propagation. 47: An electromagnetic wave. By convention the polarisation is taken from the electric field, so this is a vertically polarised wave Frequency and Wavelength B where μ0 is the permeability of free space and ε0 is the permitivity of free space, both natural physical constants.

Alternatively, only just enough gain should be used to overcome the noise introduced by the mixer. For frequencies up to 14MHz, it is not necessary to have any pre-mixer gain provided the mixer is a good low-noise design (see the chapter on HF receivers). Intermodulation can also occur in unlikely places such as badly constructed or corroded joints in metalwork. This is the socalled rusty-bolt effect and can result in intermodulation products which are widely separated from the original transmitter frequency and which cause interference with neighbours' equipment (see the chapter on electromagnetic compatibility).

Set the transmitter up with an audio signal generator at full amplitude at 1·042kHz (2·5/2·4). Listen to the carrier on a CW narrow bandwidth receiver and adjust the deviation on the transmitter for minimum carrier; this can also be done on a spectrum analyser if one is available. The deviation is now correctly set provided signals of greater amplitude are not fed into the microphone socket. Ideally the transmitter will have a microphone gain control, followed by a limiter and then followed by a deviation control.

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