Nes 10-2 noise eliminating speaker
VK stations on 20m with s2 signals at about the same level as the noise floor were perceptible but unreadable but now I can copy them You just turn the box on and after a couple of seconds all that horrible hash disappears just leaving the station you want to listen to. Noise cancelling can be varied between 9 and 35db by DIP switches on the back. I run the unit at fairly low levels of cancelling — this is easier to work with in QSOs as the NES can take a little time, seconds, to adjust at high levels of cancellation. You can also get a water-fall effect at high levels which is strange to hear but still effective.
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BHI NES10-2 Operating Manual
The majority of these viewers are not hard of hearing. This document describes 'closed' subtitles only, also known as 'closed captions'. Typically delivered as a separate file, closed subtitles can be switched off by the user and are not 'burnt in' to the image.
There are many formats in circulation for subtitle files. For a full description of the delivery requirements, see the File format section. The Subtitle Guidelines describe best practice for authoring subtitles and provide instructions for making subtitle files for the BBC. This document brings together documents previously published by Ofcom and the BBC and is intended to serve as the basis for all subtitle work across the BBC: prepared and live, online and broadcast, internal and supplied.
In addition, if you have an interest in accessibility you will find a lot of useful information here.
The editorial guidelines in the Presentation section are written in plain English, requiring only general familiarity with subtitles. Scanning through the examples will also give you a good understanding of how subtitles are made.
Editing and styling subtitles: read the Presentation section for text, format and timing guidelines. Assistance with these guidelines and specific technical questions can be emailed to subtitle-guidelines bbc. For help with requirements for specific subtitle documents contact the commissioning editor. Examples indicate the appearance of a subtitle. When illustrating bad or unrecommended practice, the example has a strike-though, like this: counter-example. Note that the subtitle style used here is only an approximation.
It should not be used as a reference for real-world files or processors. Most of this document applies to both online and broadcast subtitles. When there are differences between subtitles intended for either platform, this is indicated with one of these flags: online - applies only to subtitles for online use not for broadcast. When no broadcast or online flag is indicated, the text applies to all subtitles.
Specific actual values are indicated with double quotes, like this: "2". These values must be used without the quotes. Descriptions of values are given in brackets: [a number between 1 and 3]. When several values are possible, they are separated by a pipe: "1" "2" "3".
Text intended to guide developers in how to meet editorial guidelines is placed in sections like this within the Presentation section. This version covers editorial and technical contribution and presentation guidelines, including resources to assist developers in meeting these guidelines.
Future versions will build on these guidelines or describe changes, or address issues raised. We intend to release small updates often. The previous major version of this document remains available at Release 1. Amongst many smaller tweaks, the following changes accumulated so far since version 1 are notable:.
Queries and comments may be raised at any time on the subtitle guidelines github project by those with sufficient project access levels. A quick "file a bug" link for raising issues is available on the top right of this page. Readers who do not have access to the project should email subtitle-guidelines bbc. When raising new issues please summarise in a short line the issue in the Title field and include enough information in the Description field, as well as the selected text, to allow the team to identify the relevant part s of the document.
Good subtitling is an art that requires negotiating conflicting requirements. On the whole, you should aim for subtitles that are faithful to the audio. However, you will need to balance this against considerations such as the action on the screen, speed of speech or editing and visual content.
For example, if you subtitle a scene where a character is speaking rapidly, these are some of the decisions you may have to make:. Clearly, it is not possible or advisable to provide a set of hard rules that cover all situations. Instead, this document provides some guidelines and practical advice. If there is time for verbatim speech, do not edit unnecessarily. Your aim should be to give the viewer as much access to the soundtrack as you possibly can within the constraints of time, space, shot changes, and on-screen visuals, etc.
However, if you have a very "busy" scene, full of action and disconnected conversations, it might be confusing if you subtitle fragments of speech here and there, rather than allowing the viewer to watch what is going on. Don't automatically edit out words like "but", "so" or "too". They may be short but they are often essential for expressing meaning. Similarly, conversational phrases like "you know", "well", "actually" often add flavour to the text.
It is not necessary to simplify or translate for deaf or hard-of-hearing viewers. This is not only condescending, it is also frustrating for lip-readers. Do not take the easy way out by simply removing an entire sentence. Sometimes this will be appropriate, but normally you should aim to edit out a bit of every sentence. Avoid editing out names when they are used to address people.
They are often easy targets, but can be essential for following the plot. Your editing should be faithful to the speaker's style of speech, taking into account register, nationality, era, etc. This will affect your choice of vocabulary. For instance:. Similarly, make sure if you edit by using contractions that they are appropriate to the context and register.
In a formal context, where a speaker would not use contractions, you should not use them either. Regional styles must also be considered: e. Having edited one subtitle, bear your edit in mind when creating the next subtitle. The edit can affect the content as well as the structure of anything that follows. Avoid editing by changing the form of a verb. This sometimes works, but more often than not the change of tense produces a nonsense sentence.
Also, if you do edit the tense, you have to make it consistent throughout the rest of the text. Sometimes speakers can be clearly lip-read - particularly in close-ups. Do not edit out words that can be clearly lip-read. This makes the viewer feel cheated. If editing is unavoidable, then try to edit by using words that have similar lip-movements.
Also, keep as close as possible to the original word order. If the onscreen graphics are not easily legible because of the streamed image size or quality, the subtitles must include any text contained within those graphics which provide contextual information. Other displayed information affected by legibility problems that must be included in the subtitle includes; phone numbers, email addresses, postal addresses, website URLs, or other contact information.
If the information contained within the graphics is off-topic from what is being spoken, then the information should not be replicated in the subtitle. Do not edit out strong language unless it is absolutely impossible to edit elsewhere in the sentence - deaf or hard-of-hearing viewers find this extremely irritating and condescending.
If the BBC has decided to edit any strong language, then your subtitles must reflect this in the following ways. If the offending word is bleeped, put the word BLEEP in the appropriate place in the subtitle - in caps, in a contrasting colour and without an exclamation mark. If the word is dubbed with a euphemistic replacement - e. If the word is non-standard but spellable put this in, too:.
If the sound is dipped for a portion of the word, put up the sounds that you can hear and three dots for the dipped bit:. In Teletext, which is used to display subtitles on some broadcast platforms, line length is limited to 37 fixed-width monospaced characters, since at least 3 of the 40 available bytes are used for control codes.
Other platforms use proportional fonts, making it impossible to determine the width of the line based on the number of characters alone. In this case, lines are constrained by the width of the region in which they are displayed. Guidelines for both platforms are summarised in the table below. If targeting both online and broadcast platforms you must apply both constraints, i. Each subtitle should comprise a single complete sentence.
Depending on the speed of speech, there are exceptions to this general recommendation see live subtitling , short and long sentences below. A maximum subtitle length of two lines is recommended. Three lines may be used if you are confident that no important picture information will be obscured.
When deciding between one long line or two short ones, consider line breaks, number of words, pace of speech and the image. Subtitles and lines should be broken at logical points. The ideal line-break will be at a piece of punctuation like a full stop, comma or dash.
If the break has to be elsewhere in the sentence, avoid splitting the following parts of speech:. However, since the dictates of space within a subtitle are more severe than between subtitles, line breaks may also take place after a verb. For example:. We are aiming to get a better television service. Line breaks within a word are especially disruptive to the reading process and should be avoided. Ideal formatting should therefore compromise between linguistic and geometric considerations but with priority given to linguistic considerations.
In such cases, line breaks should be inserted at linguistically coherent points, taking eye-movement into careful consideration. Allowances would therefore have to be made by breaking the line at a linguistically non-coherent point:. Left, centre and right justification can be specified using tts:textAlign ; additional alignment options are available using ebutts:multiRowAlign. When making a choice between one long line or two short lines, you should consider the background picture.
BHI NES10-2 DSP Speaker Unit
Photo courtesy of bhi Limited, United Kingdom. Most days WWVH starts to fade into South Australia around utc but the signal is noisy from natural noise as well as some local electrical interference. I've heard about DSP on high end receivers and transceivers but because of the cost I was not prepared to buy one of those well at least not until the DRM receiving mode is provided for, but that's another story! Incidentally Lee of Andrews Communications is very responsive to emails and treats his customers as he would liked to be treated himself if he was buying a product from someone.
Ham Radio Deals & Offers in UK
This is the latest incarnation of a series of bhi noise-suppressing speakers, and it has to be seen in the context of the other units and modules bhi produces. From visiting the website, you might get the impression that this kind of technology is primarily aimed at amateur radio operators, and it is true that, in this segment of the market, it will find its place in many new shacks. However, if you are not an amateur radio enthusiast, there are still a number of applications to be found for this high-tech gadget. In my short review in the April issue of RadioUser , I share a total of five uses for the speaker. Among those, the most important one for me has been to augment the speech intelligibility of broadcast speech signals on long, medium and short wave. When it is a foreign tongue you are listening to, where understanding every word counts, it is hard to beat this little speaker. It makes the difference between mush and clear speech, in fact. I also use the speaker to audio-upgrade my local Airband signals.
Martin introduces two products from the BHi Range
The NESMK4 DSP noise cancelling speaker is suitable for use in a wide range of radio communication applications across all radio frequencies and is designed for improving voice quality in amateur radio and shortwave listening. The speaker can be used in a base station environment or mobile in a vehicle. The speaker has a bespoke 5-watt audio amplifier with DSP noise cancelling from 8 to 40 dB over eight user-selectable levels, and tone reduction of up to 65 dB. The overload LED lights if the audio input is overloading the speaker. The output level control allows you to adjust the audio output to suit your setup.
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Member My Profile Send Message. A Member account enables you to gain access to a wider range of ExplorOz services including:- Tracker service - this activates the Locally sourced neoprene stubby holders designed and printed in Australia exclusive to ExplorOz. Suits cans or water bottles This licence is specifically for use in the ExplorOz Traveller app and will enable downloading of the high resolution offline maps
A smaller BeoVision 10 version is now out in a 32 inch screen model
Radioworld now offer finance through our partners Close Brothers. Add the item to your basket in the normal way and at checkout choose to make payment via Finance. The speaker is compact and easy to use and incorporates the latest high performance bhi DSP noise cancelling technology.
Each day in the first few months, for instance, was spent dreaming of ways to prevail over this great burden on my hobby…with S-7 static ruining any chance of working weak stations on any band. The S-6 static, in fact, dropped to an S-4 which is an amazing Straight away I was able to make more contacts and more contacts were easier on the ears as well. I challenge anyone to name any other non-bhi product that would achieve that same result!
Warrany void if speaker opened. When listening using headphones, care must be taken when switching the noise cancellation off, as high volumes of noise will be present. Prolonged exposure to high sound levels may lead to hearing damage. This marking shown on the product or its literature, indicates that it should not be disposed of with other household wastes at the end of its working life. To prevent possible harm to the environment or human health from uncontrolled waste disposal, please separate this from other types of wastes and recycle it responsibly to promote the sustainable reuse of material resources. Household users should contact either the retailer where they purchased this product, or their local government office, for details of where and how they can take this item for environmentally safe recycling. Business users should contact their supplier and check the terms and conditions of the purchase contract.
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