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Hi Steve, Bob,  Anthony, Robert, et all.

I bit more info on real hi end AM and FM radio performance from the  
Golden Age.   By the end of the 1930s around 1940, E. H.. Scott  Labs  
(no relation to H. H. Scott) was making some extraordinary radios.  AM  
could have wide bandwidth when circumstances permitted.  In these  
earlier times, the AM band was not cluttered with a lot of stations  
which tended to interfere with each other.  In those days there were  
fewer stations with lots of power and clear channels.  They also  
usually were limited to daytime operation because interference went up  
at night due to atmospheric conditions.

When the AM band got crowded (in the 1960s?  or later), receivers had  
to have 9KHz or 10KHz audio filters to help reduce increasing man made  
noise issues and station reception interference.  AM noise in car  
radios from the ignition systems raised havoc with reception, not to  
mention the mechanically noisy acoustic car environment.   When the  
filters went in and the AM band got crowded,  then received AM  
fidelity really went down even though the AM transmitter could still  
transmit wide band audio.   Also in earlier times, there was a real  
emphasis on quality.  Later on, music sources had their sound  
manipulated by processors in the recording studio and also more signal  
processing at the broadcast station to be louder and also attempt to  
reduce various noise issues and sound well on cheap AM radios of  
limited performance.  Sound quality music reproduction reception moved  
to FM for obvious reasons.

Back to the story.  In 1940, E H. Scott, who called themselves 'The  
Stradivarius of Radio Receivers',  made a "Philharmonic Receiver"   
that had 5 bands, including the new
Armstrong FM on its original frequency band of 41 to 50 Mhz.  The set  
had 33 of the large  big pin tubes and came with a 5 year parts  
warranty.   The frequency response of the
AM section was the same as the FM section, 30 to 15KHz.   It had  
variable IF Bandwidth to adjust for reception conditions.  The AM  
antenna was adjustable for gain, nulling,
pick up pattern, and was highly shielded against local interference.   
There were tube voltage regulators to keep the tuner from drifting off  
station.  One could order 8 different cabinets,
woods, colors, etc.  and there were options of speakers, amplifiers,  
etc.  The circuits had multiple Mixers, RF amplifiers, IF Amplifiers,   
Detectors, AGC, AVC, Tuning Eyes, an 8 tube Audio Amplifier, Noise  
suppressor for suppressing 78 record surface noise, separate power  
supplies with high filtration, dual tuning speeds, etc.,  a 4 speaker  
option, a sensitivity of
.5 microvolts, logging scale, muting between stations, etc.   It used  
dual chassis construction of 14 gage chrome plated steel.   If memory  
serves, In 1940 this radio cost between $3000.00 to $4000.00!    Think  
of that in today's dollars.   It was the best of the best.  Many  
musicians and those with deep pockets owned these E.H. Scott sets.  It  
was one of the few
equipment items that got a rave review from Toscanini who said "Never  
would I have believed it was  possible to attain such marvelous  
reproduction... the quality of tone is mellow,
clear, beautiful, and not confused as in other receivers which I have  
had before yours.  To you assuredly belongs the credit of having  
produced a miracle of perfection."

Then World War II put it all on hold due to the war effort, etc.   
After the war,  the FM frequency band was changed from the better  
lower 41 to 51 MHz band to the higher current 88 to 108 Mhz band due  
to the Armstrong and RCA (Sarnoff) patent battle in which Sarnoff got  
the FCC to change the FM band spectrum location.  This FM band  
frequency change ruined Armstrong financially as all the Scott FM  
receivers and his FM transmission equipment did not work on the new FM  
frequencies.  The personal stress and financial loss was so great that  
it was a substantial factor in Armstrong committing suicide.  His wife  
kept up the patent legal case and decades later won against RCA.  Also  
eventually Armstrong got very deserved recognition from broadcast  
engineers for his many contributions to broadcasting.  The change in  
FM bands hurt Scott  financially in that a lot of  their expensive  
equipment now had a useless FM band.  I think that E. H. Scott changed  
hands and its name changed to Radio Craftsman and then later  
Ravenswood which eventually had a plant in my home town.

I clearly recall when young of an extraordinary broadcast I heard on  
one of these Scott Philharmonic radios.    A station got hold of an  
English Decca FFRR full range 78 recording that had a disc frequency  
response out to 15KHz for a 78 record!   This was played on a wideband  
AM station and I heard it on the Scott set.  Superb sound, and a  
stunning experience I will
not forget.   Later on, I got a newer E. H. Scott receiver made in  
1947 which had the new FM Band, and also a very good AM section, but  
it was not as good as the older Scott Philharmonic.  This 1947 radio  
is now 62 years old and still going strong.  No problems or bad parts,  
other than a few tubes, in all these years.  They do not make them  
like that anymore.

In the early 1950s stereo recording began and prerecorded tapes came  
to market.  Later, about 1958, stereo records came out.  Then  
broadcasts started to be updated.  They started with simulcasts which  
would broadcast TV programs and then feed the local FM station the   
mono wideband audio for better sound quality while one watched the  
performance on TV.
Then stereo simulcasts started with one channel on an FM station and  
the other channel on AM.   The FM was better, but the AM could still  
be excellent if the receiver was good and the AM station took out the  
signal processing.  I set up my Scott for the AM and used something  
else for the FM.  The AM quality and stereo sound was excellent. There  
were no crosstalk
problems or high frequency birdies.    Then the effort to make FM  
itself into stereo.  The technically better system was by Crosby, but  
the Crosby may have had mono compatibility issues, and they did not  
have influence with the FCC.  Instead, the Zenith GE FM stereo system  
was chosen which had mono compatibility, but was technically inferior  
in stereo with more noise, a filtered bandwidth reduction from 20Khz  
to 15KHz, the 19Khz pilot tone birdie issue, SCA interference, etc.    
Zenith GE Stereo FM  had influence with the FCC which decided the  
issue of  broadcast standards at the time.

Before 4th grade I would build tube crystal radios with cat whiskers  
and also collected old radios, etc.  By 4th grade I became a Ham and  
Stereo enthusiast.  I made my own Ham radio, wound the coils, did all  
the metal work, hand wiring, etc, This project  took two years to  
finish.  I continued into the kit era. I do miss the fun of making  
things from kits, but Heath, etc are long gone.

AM died on the vine as far as music and sound quality was concerned.   
It took decades for AM stereo to be developed. By then, it was too  
little and too late.  FM could be a lot better than it presently is,  
but this has been discussed before.

A few memories of older times for those who may not know.

Charlie Richardson



On Jan 6, 2009, at 10:20 PM, Steven C. Barr wrote:

> ----- Original Message ----- From: "Bob Olhsson" <[log in to unmask]>
>> -----Original Message-----
>>> From Anthony Baldwin: "...the generous bandwidth of
>> national AM channels in the 1930s and '40s offered a far higher level
>> of AM fidelity than we're used to today..."
>>
>> Most younger people don't realize that the average AM station of  
>> the 1940s
>> sounded far better than the average FM station of the '80s.
>>
> And they had MUCH better AM radios as well! Consoles usually had 10"  
> or
> 12" speakers. My E. H. Scott 800-B is admittedly MUCH better than  
> average
> (it cost $1600 in 1946...more than a new Chevrolet...!!) but puts  
> out 25 watts
> of power into a coaxial speaker with a 15" bass driver...!
>
> ...stevenc