A microphone equalizer on cb radios is a waste of money. First, most people dont care or wouldnt recognize good audio if they heard it. Two, the tx and rx bandwidth of cb radios is so narrow you could cram all the eq audio you want into the rig and it still wont get past the 2.4khz bandwidth filter, at best. In my opinion there is not enough audio conesuer's on cb to even go thru the trouble. Its all about that nasty nasal, midrange heavy 400hz spike. Eewwww, yuk!
-
You can now help support WorldwideDX when you shop on Amazon at no additional cost to you! Simply follow this Shop on Amazon link first and a portion of any purchase is sent to WorldwideDX to help with site costs.
UR6QW EQ'S
- Thread starter Sonar
- Start date
Shadetree Mechanic
Delaware Base Station 808
I didn't hear a word you said, you are breaking up and your modulation sounds low.
I understand these limitations but I was just testing the other night with someone and they could definitely tell when I turned the lows up and down. Now maybe it's not really a huge difference due to the restrictions of the radio but it is noticeable on the other end. Additionally, not everyone has a radio voice so perhaps it's not pushing the limits of the radio but simply evening out the voice of that individual and that is what the listener is interpreting.
Similar to the bass mod on the D104M6B. You wouldn't think it would make a big difference but it's definitely noticeable.
Regardless of the EQ debate the compressor and noise gate are impressive.
Work within the frequency range of your radio, don't try and push freq. Your radio can't pass. You can get some really nice audio if done correctly.
Always helps if you have a decent mic as well
Always helps if you have a decent mic as well
Is this guy serious?
There are probably more incredible sounding hifi stations on 11m than the HF bands these days (General class here, hihi). While people have been modifying standard CB's and exports for wideband transmit & receive & feeding them with rack & computer DAWs with great results for many years, the hardcore enthusiasts are running SDRs now (Flex, Apache Labs, SunSDR, etc.). Is that to say that all of the traditional narrow/nasally/shrill sounding overmodulated/splattering garbage has disappeared from 11m? Of course not, but some of your statements above are laughable.
Last edited:
Just pointing out the whole absurdity of your comment "In my opinion there is not enough audio conesuer's on cb to even go thru the trouble" - you must not have spent much time sandbagging on 11m with a halfway decent receiver in the last 10 years or so.
And really all I wanted to do was offer accolades to the guy that invented this device to help others use their radios within the limitations of the RADIO design.
The strong hint here is the Radio Design...
That means the systems' limitations.
It's just sad to see that Overseas as well as On-shore, the use of such EQ's seem to be more of a means to abuse the privileges we still have. Having a friend in Russia, you can feel for their struggles in obtaining an identity and to read about these difficulties just adds to the pain - it is tough out there and if people want to be heard - just remember that what you use to attain it, makes you - You...
Many suggest the EQ to offset the poorer performing Mic and Radio band pass matching - both yes, I agree, but remember too, the System your trying to push your efforts thru. Anyone who owns a typical AM-only Mod-Transformer'ed CB - and then switches over to an AM Regulated radio - the roundtable and the Operator know they sound different - immediately.
It also demonstrates a throwback to older days of using "Hot Mics" thru Noise Gates and EQ's to emphasize a persons particular character of voiceprint that others in-person can hear, but their radio can't reproduce this effect. So to enhance that which is missing - usually requires more emphasis on the frequency of their predominate fundamental tone - their character others hear in person.
So we have this argument of The Radio Transmits this, but the Listener Hears' - this...
The "red line" denotes the stations ability to provide Bandwidth,
The slope is their roll off.
To give Credit, the Symphony and its' dynamic range
adds to ambience and impact.
More than most stations can apply as compression
without winding up as a distorted swooshing mess of - distortion.
Because the Mic and the persons "personal resonate chamber" Read: Their physiology - the one Mic can't pick up what others' two ears-do hear, direct in their presence.
The "throwback" reference refers to something FM Radio stations that cater to the avid Audiophile back in the 80's when FM became the Go-To mode for Audio / Talk / Music Format - many stations just about abandoned their AM spot on the Dial to attain the FM license to continue their pursuit of fidelity.
In doing so, FM radios started getting better at their Game of being the Right Radio for your listening pleasure.
Most FM stations still have their limitations especially the 19kHz "pilot signal" used to tell the FM Receiver listening for it, that there is more information contained in a Sub-Band - turn it on and I'll let you hear it - and so the radio engages the L + R = Mono Translation to now hear a greater bandwidth of L + R and L - R - which is enough for the Phase correlations to decode and unleash the very thing most people hear with their two ears - At The Same Time - and call it Stereo.
The rub was in trying to meet the FCC requirements of bandwidth so many stations had to push their signals with emphasis on the Bass (Alto - to lower) and roll-off above 16kHz to avoid a Pilot Signal contention.
As Radios got better at this game, they came with "Emphasis" and "De-Emphasis" - that is that uS rating - they changed their IF strips to remove the Roll Off of a Ceramic filter for the 19KHz signal and used PLL generated or even Xtal synthesis application to make the 19kHz signal drop off sharper - allowing more fidelity bandwidth - gained 2kHz in audio pass band width and the Band Played on...EU and USA - no matter - RIAA helps the old' Phonograph, why not Radio too?
So what was the uS representing? A Frequency = 1 / T
In the Audio spectrum - Radios stations start their Emphasis curve at about 2.1kHz in the US - which equates to a -3dB result of having to start at about 75uS or 0.00075 = which means you start the "Filter slope process" at about 1.3kHz - above this they added (Emphasized) signal using a compressor to offset the rise of the 19kHz Pilot signal that also came into the Receivers detector - which the "stereo" side had to sense and decode the opposite Sideband (using AFC) to track and remove one of the combined (Mono) thru the process of Subtraction to attain the missing other half and then amplify that. This is on top of the effort that the Station had to impose a roll off of that compressed spectrum to allow the 19kHz signal to be detected.
In a receiver that can decode this emphasis would then apply a roll off filter to De-emphasize then expand the result to attain the original dynamics.
So the FM stations got better, sent their signals out with a type of non-linear compression called Emphasis and the FM Receiver- properly built - can then sense and decode and apply the De-Emphasis - range and fidelity restored. With or without that Emphasis - the listener can still hear their station - only the enhanced effects were buried in the less than ideal signal they could hear. This effect can be discerned when you switch "Stereo Mono button" to Mono then back again - the treble and spatial effects return.
Not every piece of equipment supported this type of cause and effect. You still have the older Analog tuners that "kinda' Sorta'" went with the Emphasis-gig and rode along in the Wave of Fidelity Fanatics making their $$$ while they could.
So... While everyone that wishes for more, continues to debate the Radio needs this to Get that and others say the Get This Radio to get that - and This makes your Radio do This for That - SIGH - it will never end until the Point of Origination meets the Singularity of the Source - It's up to the individual as themselves to be the true judge of character.
.
I'm telling you this so as you work thru the process of whether; "I Must Do This or Do That - do I get This For That or Get That For This" - carborundrum - remember the limitations of all the systems involved - you don't have the listenership that has the ability to listen for special - spatial effects - if you want that - learn to become a DJ.
The strong hint here is the Radio Design...
That means the systems' limitations.
It's just sad to see that Overseas as well as On-shore, the use of such EQ's seem to be more of a means to abuse the privileges we still have. Having a friend in Russia, you can feel for their struggles in obtaining an identity and to read about these difficulties just adds to the pain - it is tough out there and if people want to be heard - just remember that what you use to attain it, makes you - You...
Many suggest the EQ to offset the poorer performing Mic and Radio band pass matching - both yes, I agree, but remember too, the System your trying to push your efforts thru. Anyone who owns a typical AM-only Mod-Transformer'ed CB - and then switches over to an AM Regulated radio - the roundtable and the Operator know they sound different - immediately.
It also demonstrates a throwback to older days of using "Hot Mics" thru Noise Gates and EQ's to emphasize a persons particular character of voiceprint that others in-person can hear, but their radio can't reproduce this effect. So to enhance that which is missing - usually requires more emphasis on the frequency of their predominate fundamental tone - their character others hear in person.
- the problem is in;
- How well the system they currently have, can reproduce this effect on the other end - let alone produce enough of this effect - to even put it out there for others to hear.
So we have this argument of The Radio Transmits this, but the Listener Hears' - this...
The "red line" denotes the stations ability to provide Bandwidth,
The slope is their roll off.
To give Credit, the Symphony and its' dynamic range
adds to ambience and impact.
More than most stations can apply as compression
without winding up as a distorted swooshing mess of - distortion.
The "throwback" reference refers to something FM Radio stations that cater to the avid Audiophile back in the 80's when FM became the Go-To mode for Audio / Talk / Music Format - many stations just about abandoned their AM spot on the Dial to attain the FM license to continue their pursuit of fidelity.
In doing so, FM radios started getting better at their Game of being the Right Radio for your listening pleasure.
Most FM stations still have their limitations especially the 19kHz "pilot signal" used to tell the FM Receiver listening for it, that there is more information contained in a Sub-Band - turn it on and I'll let you hear it - and so the radio engages the L + R = Mono Translation to now hear a greater bandwidth of L + R and L - R - which is enough for the Phase correlations to decode and unleash the very thing most people hear with their two ears - At The Same Time - and call it Stereo.
The rub was in trying to meet the FCC requirements of bandwidth so many stations had to push their signals with emphasis on the Bass (Alto - to lower) and roll-off above 16kHz to avoid a Pilot Signal contention.
So what was the uS representing? A Frequency = 1 / T
In the Audio spectrum - Radios stations start their Emphasis curve at about 2.1kHz in the US - which equates to a -3dB result of having to start at about 75uS or 0.00075 = which means you start the "Filter slope process" at about 1.3kHz - above this they added (Emphasized) signal using a compressor to offset the rise of the 19kHz Pilot signal that also came into the Receivers detector - which the "stereo" side had to sense and decode the opposite Sideband (using AFC) to track and remove one of the combined (Mono) thru the process of Subtraction to attain the missing other half and then amplify that. This is on top of the effort that the Station had to impose a roll off of that compressed spectrum to allow the 19kHz signal to be detected.
In a receiver that can decode this emphasis would then apply a roll off filter to De-emphasize then expand the result to attain the original dynamics.
So the FM stations got better, sent their signals out with a type of non-linear compression called Emphasis and the FM Receiver- properly built - can then sense and decode and apply the De-Emphasis - range and fidelity restored. With or without that Emphasis - the listener can still hear their station - only the enhanced effects were buried in the less than ideal signal they could hear. This effect can be discerned when you switch "Stereo Mono button" to Mono then back again - the treble and spatial effects return.
Not every piece of equipment supported this type of cause and effect. You still have the older Analog tuners that "kinda' Sorta'" went with the Emphasis-gig and rode along in the Wave of Fidelity Fanatics making their $$$ while they could.
So... While everyone that wishes for more, continues to debate the Radio needs this to Get that and others say the Get This Radio to get that - and This makes your Radio do This for That - SIGH - it will never end until the Point of Origination meets the Singularity of the Source - It's up to the individual as themselves to be the true judge of character.
.
I'm telling you this so as you work thru the process of whether; "I Must Do This or Do That - do I get This For That or Get That For This" - carborundrum - remember the limitations of all the systems involved - you don't have the listenership that has the ability to listen for special - spatial effects - if you want that - learn to become a DJ.
Wow, you sure hit the nail on the head. Im new and only have a 1 ft firestick antenna and a 3 ch handheld hooked up to it. You hurt my feelings... hahahaha, i would crush you on the air with my broadcast station. Im done with you. Back to 80m with you. Quack Quack
Shadetree Mechanic
Delaware Base Station 808
The audio width of the radio is not the bottle neck. Yes you can make it wider, and if you are playing music it makes a difference. The biggest thing about this all in one eq is that it can replace a whole rack of audio gear. Plug in a studio dynamic mic, adjust the noise gate to cut out the fan noise, and turn the compressor all the way up to use as a peak limiter and you will be louder than 90% of the radios out there. Using a second radio as a station monitor, adjust the eq so you sound like you. Then cut the 500hz to remove the mud and you are done. For busting up the pile up crank the 3khz up, for rag chew turn it back down. This eq is small enough to put in the vehicle or when setting up in a remote location too. Dang, I think I just talked myself into getting one. Haha!
Ok, to help those who can help themselves...
Just look up the FM Emphasis and De-emphasis and you get this, but it's important for you to know the game before you play it.
Here's an example...
From a Cobra Radio...
Numbering has changed to help decipher
the values used in the text.
Ok, if you can bear with me, looking above most of you recognize this as the typical "peaked 455kHz IF" output tap from an AM-only Radio..
There is C1 which allows the 455kHz image signal to enter into the circuit.
D1 and D2 form a Full Wave Rectifier gathering up the RF power from both the halves of the RF signal D1 conducts to ground leaving a Negative on C1 and D2 junction - which the other half of the RF wave also uses D2 to conduct Negatively thru D2 from the other half of the circuit - pulling current away thru it, into C1 and D1 - which C1 Blocks the DC values so D1 then applies this power into Ground (It's Forward Biased) - so this application is similar to a Full Wave Rectifier, not be confused with Full Wave BRIDGE rectifier that uses 4 diodes - the "full wave" of RF is captured this way, it's set up to allow capture of as much as possible, the Carrier and Audio wave to detected.
To simply "Shove" this into the circuit from this point on - is not that simple - the Main Schematic of the Cobra Above shows AGC - this Diode detector circuit and it's design, adds a level of Power that is applied to a Divider and is used to adjust, or alter, the power gain of the Receiver so that it's levels of dynamic range is pre-set so the circuit can focus more on the subtle changes in Noise level to Signal Strength that is trying to pass thru into another Filter on the opposite side (R1, R2, R3, R4 with R5)
You already get a hit against the signal - with a hi-cut roll off used at C2 ...It's the C29 in Figure 2
And that's from a Cheapie Radio's version of ANL - you don't have a "De-Emphasis" circuit per-se, just the Hi-Cut to take away most of the higher pitch noise level that adds the harshness to the Receivers' overall tonal quality of sound you hear.
Just as I was doing research - I found the values used in older equipment was eerily similar in values still used to this day...
Figure 1
Just look up the FM Emphasis and De-emphasis and you get this, but it's important for you to know the game before you play it.
Figure 2
The typical AM only radio uses a simple Detector circuit and the output is filtered, not by ANL or even NB - its' not even considered, it's just there, when all your Noise Abatement stuff is off...
Here's an example...
From a Cobra Radio...
Numbering has changed to help decipher
the values used in the text.
Ok, if you can bear with me, looking above most of you recognize this as the typical "peaked 455kHz IF" output tap from an AM-only Radio..
There is C1 which allows the 455kHz image signal to enter into the circuit.
D1 and D2 form a Full Wave Rectifier gathering up the RF power from both the halves of the RF signal D1 conducts to ground leaving a Negative on C1 and D2 junction - which the other half of the RF wave also uses D2 to conduct Negatively thru D2 from the other half of the circuit - pulling current away thru it, into C1 and D1 - which C1 Blocks the DC values so D1 then applies this power into Ground (It's Forward Biased) - so this application is similar to a Full Wave Rectifier, not be confused with Full Wave BRIDGE rectifier that uses 4 diodes - the "full wave" of RF is captured this way, it's set up to allow capture of as much as possible, the Carrier and Audio wave to detected.
To simply "Shove" this into the circuit from this point on - is not that simple - the Main Schematic of the Cobra Above shows AGC - this Diode detector circuit and it's design, adds a level of Power that is applied to a Divider and is used to adjust, or alter, the power gain of the Receiver so that it's levels of dynamic range is pre-set so the circuit can focus more on the subtle changes in Noise level to Signal Strength that is trying to pass thru into another Filter on the opposite side (R1, R2, R3, R4 with R5)
You already get a hit against the signal - with a hi-cut roll off used at C2 ...It's the C29 in Figure 2
And that's from a Cheapie Radio's version of ANL - you don't have a "De-Emphasis" circuit per-se, just the Hi-Cut to take away most of the higher pitch noise level that adds the harshness to the Receivers' overall tonal quality of sound you hear.
Just as I was doing research - I found the values used in older equipment was eerily similar in values still used to this day...
Last edited:
I dont use it on CB radios, I used the 8 band on a 756pro 3 and now I have the new 10band eq on the kenwood 890.
Last edited: