brand new but very old aerials for sale

In article , Graham.
wrote:
On Fri, 09 Nov 2012 08:49:06 -0000, Roderick Stewart
wrote:

In article , Tony sayer wrote:
When I started work at PYE TVT I first saw what 625 line could do!,
amazed at how good it was but of course with the Neg going modulation
it did seem less vibrant than what the Pos 405 line did but the detail
was astounding for those times!.

Until they added colour of course. For some years during the
introduction of colour, my TV was a Rank Cintel monochrome studio
monitor connected to a home-built tuner, and the detail was noticeably
better when there was no colour. Some black and white movies looked
superb on this setup, and never as good again on any colour display
I've used since.

Rod.

I don't doubt that the definition was better than a domestic TV but IMHO
the thing that would have set the studio monitor apart from a TV is it's
ability to maintain a proper black level.

I can only think of one mono TV that I dealt with regularly that gave a
reasonable account of itself in that respect, and it was a Decca, chassis
number long forgotten.

Most other mono sets made little or no effort in providing black level
clamping or simple DC restoration, and the mean-level AGC system often
used also conspired to the same end.

when I bought my first dual standard set (1964), I went to the Radio Show
and specifically asked about a black level clamp at the various stands. I
bought an Ekco - there was someone on the stand who knew what I was talking
aabout ;-)

--
From KT24

Using a RISC OS computer running v5.18

I don't doubt that the definition was better than a domestic TV but IMHO
the thing that would have set the studio monitor apart from a TV is it's
ability to maintain a proper black level.

I can only think of one mono TV that I dealt with regularly that gave a
reasonable account of itself in that respect, and it was a Decca, chassis
number long forgotten.

Most other mono sets made little or no effort in providing black level
clamping or simple DC restoration, and the mean-level AGC system often
used also conspired to the same end.

when I bought my first dual standard set (1964), I went to the Radio Show
and specifically asked about a black level clamp at the various stands. I
bought an Ekco - there was someone on the stand who knew what I was talking
aabout ;-)


Wasn't it Prince Philip who went to a TV factory and said that "this
black level clamp thingamabob" wanted tightening?...
--
Tony Sayer

"tony sayer" wrote in message
...
I don't doubt that the definition was better than a domestic TV but IMHO
the thing that would have set the studio monitor apart from a TV is it's
ability to maintain a proper black level.

I can only think of one mono TV that I dealt with regularly that gave a
reasonable account of itself in that respect, and it was a Decca,
chassis
number long forgotten.

Most other mono sets made little or no effort in providing black level
clamping or simple DC restoration, and the mean-level AGC system often
used also conspired to the same end.

when I bought my first dual standard set (1964), I went to the Radio Show
and specifically asked about a black level clamp at the various stands. I
bought an Ekco - there was someone on the stand who knew what I was
talking
aabout ;-)

Wasn't it Prince Philip who went to a TV factory and said that "this
black level clamp thingamabob" wanted tightening?...

I think he asked someone to fix his DVD player.

--
Max Demian

In article , Graham. wrote:
When I started work at PYE TVT I first saw what 625 line could do!,
amazed at how good it was but of course with the Neg going modulation it
did seem less vibrant than what the Pos 405 line did but the detail was
astounding for those times!.

Until they added colour of course. For some years during the introduction
of colour, my TV was a Rank Cintel monochrome studio monitor connected to
a home-built tuner, and the detail was noticeably better when there was no
colour. Some black and white movies looked superb on this setup, and never
as good again on any colour display I've used since.

Rod.

I don't doubt that the definition was better than a domestic TV but
IMHO the thing that would have set the studio monitor apart from a TV
is it's ability to maintain a proper black level.

I can only think of one mono TV that I dealt with regularly that gave
a reasonable account of itself in that respect, and it was a Decca,
chassis number long forgotten.

Most other mono sets made little or no effort in providing black level
clamping or simple DC restoration, and the mean-level AGC system often
used also conspired to the same end.

*My* black and white TV set (previous to the studio monitor) certainly did
have black level clamp circuitry, because I put it there. Nevertheless the
fine detail wasn't quite as good as the studio monitor, which I assumed was
something to do with the difficulty of obtaining good beam focus on a wider
deflection tube. My external tuner may also have had a better HF response.

Rod.
--

In message en.co.uk,
Roderick Stewart writes
In article , Graham. wrote:
When I started work at PYE TVT I first saw what 625 line could do!,
amazed at how good it was but of course with the Neg going modulation it
did seem less vibrant than what the Pos 405 line did but the detail was
astounding for those times!.

Until they added colour of course. For some years during the introduction
of colour, my TV was a Rank Cintel monochrome studio monitor connected to
a home-built tuner, and the detail was noticeably better when there was no
colour. Some black and white movies looked superb on this setup, and never
as good again on any colour display I've used since.

Rod.

I don't doubt that the definition was better than a domestic TV but
IMHO the thing that would have set the studio monitor apart from a TV
is it's ability to maintain a proper black level.

I can only think of one mono TV that I dealt with regularly that gave
a reasonable account of itself in that respect, and it was a Decca,
chassis number long forgotten.

Most other mono sets made little or no effort in providing black level
clamping or simple DC restoration, and the mean-level AGC system often
used also conspired to the same end.

*My* black and white TV set (previous to the studio monitor) certainly did
have black level clamp circuitry, because I put it there. Nevertheless the
fine detail wasn't quite as good as the studio monitor, which I assumed was
something to do with the difficulty of obtaining good beam focus on a wider
deflection tube. My external tuner may also have had a better HF response.

Around 1966/7, the Wireless World carried an article for fitting a very
simple DIY add-on black level clamp to B&W valve TV sets. It worked
fairly well in my Ferguson 3000 (although the black did still change a
bit). It didn't fix the problems of contrast expansion/contraction (it
wasn't intended to), but it certainly made viewing a lot more
pleasurable.

I have some circuits of American TV sets of the 1950s. With their
negative video modulation and positive syncs, it should have been
relatively easy to have peak level AGC, and to use directly coupled
video drive to the cathode of CRT (and thus maintain proper black and
contrast levels). However, they all seemed to use the horrible
mean-level AGC and AC coupling so beloved of the designers of UK TV
sets.
--
Ian

On Fri, 09 Nov 2012 14:09:57 +0000, Bill Wright
wrote:

The Other Mike wrote:
On Fri, 09 Nov 2012 08:35:27 +0000, John Williamson
wrote:

Huge wrote:
On 2012-11-08, Jules Richardson wrote:
On Thu, 08 Nov 2012 20:01:59 +0000, Huge wrote:
Yeabut these are somewhat "historic" and new boxed, got to be worth a
few bob?...
Yep. A few bob. 25p.
That's more like several millibob, surely?
1 bob = 5 p.


Purchasing power of 5P now is less than the 1d at decimalisation.

Have you got a verifiable source for that info?


On D Day I was earning £13 a week as a schoolteacher.


June 6th 1944?
--
Cheers

Peter

(Reply to address is a spam trap - please reply to the group)

On 17/11/2012 15:08, Peter wrote:
On Fri, 09 Nov 2012 14:09:57 +0000, Bill Wright
wrote:

The Other Mike wrote:
On Fri, 09 Nov 2012 08:35:27 +0000, John Williamson
wrote:

Huge wrote:
On 2012-11-08, Jules Richardson wrote:
On Thu, 08 Nov 2012 20:01:59 +0000, Huge wrote:
Yeabut these are somewhat "historic" and new boxed, got to be worth a
few bob?...
Yep. A few bob. 25p.
That's more like several millibob, surely?
1 bob = 5 p.


Purchasing power of 5P now is less than the 1d at decimalisation.

Have you got a verifiable source for that info?


On D Day I was earning £13 a week as a schoolteacher.


June 6th 1944?

Bill must have worn very well for his age ;-)



--
Cheers,

John.

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