TVs compatible, from one continent to the next??

So this means any studio vision mixer and switching systems were also RGB?

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*If God dropped acid, would he see people?

    Dave Plowman        dave@davenoise.co.uk           London SW
                  To e-mail, change noise into sound.

Yawn. Moron. It was at a 5 MW EIRP UHF station. There was no news department at that station. They didn't need one. Two studios in a new building, in Orlando Florida. Our electric bill was $45,000 just for the transmitter.

Good for them. Too bad they had to work with an ignorant asshole like you. Most of our production was live programming. With our 3M master router, the equipment could be used for production or live. It could aslo be routed to the engineering office for troubleshooting. The

3M could have some routes locked to prevent people from accidently changing them, or trying to disrupt a broadcast. The Comark transmitter was on from six AM Monday morning, until midnight, Monday morning, leaving six hours for routine maintenece.

Here is a satellite photo of the transmitter site. That tower is over 1700 feet. There is a curtain FM antenna at the 1200 foot level with five, 50 KW FM Orlando radio stations. It also had Ch 68 before trhey built their own tower. There are a couple dozen private radio systems there, as well.

Presentation area? That sounds like the break room at a used car lot.

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You can't fix stupid. You can't even put a band-aid on it, because it's
Teflon coated.

Can't you read?

"The Vital Industries video switcher and the Squeeze Zoom had RGB inputs and outputs." The pair did video mixing, framestore and special effects. The composite output was hard routed to the 7 GHz STL from Orlando to the transmitter in Orange City. Any tape delayed programming was at the transmitter site, on a LaCarte system. The live feed was monitored by the transmitter operator. and could be used at any time, if needed.

I realize you've never seen the equipment, but your overall ignorance is annoying. You're more like Phil with every post.

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You can't fix stupid. You can't even put a band-aid on it, because it's
Teflon coated.

Delay line failure was fairly common on certain tube sets in the early

70s. Both the coil opening and, in other cases, the capacitor to ground opening. Chuck

So this device which did all the normal vision mixer duties only handled RGB in? Just trying to get clear what you mean.

On the contrary. You seem to think the way you've experienced things to be the only way they were done. And given it seems to have been on a much smaller operation than I'm talking about, it's you with your head in the sand.

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*Life is hard; then you nap

    Dave Plowman        dave@davenoise.co.uk           London SW
                  To e-mail, change noise into sound.

By then I was working in Broadcast. I'll bet those bad delay lines were made in Mexico. The capacitor in the early lines was a strip of copper tape on the core, then a layer of insulation before the coil was wound. One end was soldered to the ground lug.

Some company in Mexico was using a corrosive flux and not cleaning the coils properly. When you saw an open coil there was usually a lot of green where the wire opened. I saw several bad yokes with that failure mode, just before I left for the Army and heard about a lot of similar failures from that shop but never any delay lines. They worked mostly on Zenith, RCA and Motorola, in that order. Some GE, Philco, Admiral and Sylvania which were about 10% of the total. I repaired stereos & a few TVs for the other people on base, and bought most of the parts through the shop I had worked at rather than trying to deal with wholesalers near a military base.

--
You can't fix stupid. You can't even put a band-aid on it, because it's
Teflon coated.

Sigh. NO. It could handle anything you threw at it. The two Vital Industries system filled a six foot rack. The Squeeze Zoom was over $250,000 and the video mixer & effects was around $150,000.

I've been trying to explain how it is done in a NTSC plant. You keep trying to tell me it's wrong, since you've never used the equipment. All a bigger plant means is more redundant equipment, but you insist on pulling out a ruler and waving your dick. it was a single station, not a network station. The only 'network' station was the AFRTS station in Alaska and it still used mostly film, since some posts had no OTA TV, so they had channel CATV systems or just ran the films in a small theater. There were 12 locations in each group. Cases of film arrived in the mail every few days. After they were run, they were mailed to the next location, and finally back to AFRTS headquarters in Los Angeles. At one time AFRTS was the largest network in the world. it was also the last network to use mostly tube equipment, because a lot of their radio stations were unmanned most of the time. Our radio station received the Alaskan Forces Network over the 'White Alice' network. It was the world's first Over The Horizon Microwave Relay telephone system. There is a lot of information on line, you should read it.

You damned the station for having no video tape in the '70s. You have no concept about how the military works. Film was reliable and cheap. It didn't need much maintenance, or thousands of spare parts.

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You can't fix stupid. You can't even put a band-aid on it, because it's
Teflon coated.

I think you are right about the manufacture of these parts in Mexico. In 1971 RCA had a massive failure of their tube color chassis (CTC38?), after a few months operation , of a color band pass coil. The symptom was a loss of color sync and the reason for it was internal corrosion and the coil was manufactured in Mexico. Chuck

I worked on a few CTC38 series after I served, and I wasn't impressed by the design or the quality of the components. A few years later Curtis Mathis was selling TVs with an identical design, and apparently bought the tooling from RCA. A lot of them were dead, right out of the carton. That was about the time I left TV repair for good, and moved to idustrial electronics.

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You can't fix stupid. You can't even put a band-aid on it, because it's
Teflon coated.

Perhaps I should explain the type of studio I'm used to. Each studio has a production gallery, sound control, lighting/vision control and a camera set up area. All separate rooms, but adjoining. Master control handles the outputs of all the studios and routes that where required.

What you seem to be calling master sounds more akin to a studio gallery.

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*Why is it that to stop Windows 95, you have to click on "Start"?

    Dave Plowman        dave@davenoise.co.uk           London SW
                  To e-mail, change noise into sound.