1936 RCA RR-359B Restoration
 

Alrighty. Let's get this started.
First some background. RCA did a number of field trials starting way back in 1931 to test the feasibility of commercial television service.
These first sets were only 120 lines. Only 16 were made and at least one still exists. AM modulation for both audio and video with wide carrier spacing. No sideband suppression. Small experimental CRTs with green phosphor were used.

Much more info in TELEVISION Collected Addresses and Papers on the Future of the New Art and Its Recent Technical Development Volume 1. Published by RCA INSTITUTES TECHNICAL PRESS.

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Field tests continued throughout the 30s and not just receivers. All aspects from studios, cameras, control booths, transmitters, etc.

Here's a slightly later 1933 model.
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A few other experimental models were made over the next few years but none are known to exist.

Which gets us to 1936 when they used all they had learned and started making the model RR-359A using a 9" green phosphor CRT with 343 scan lines for another round of field test.
Come 1937 they upgraded most of the existing "A"s to "B's which included a 12" CRT and 441 lines. Seems they also produced a few more Bs.

Much more info and photos in Television Vol II

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Perhaps 100 were made in total. It's hard to find exact #s. I'm combining multiple published sources and bits picked up from other collectors. Complicated by RCA send a bunch over to the Soviet union to help get their TV industry going.

What I can tell you for sure is that about 15 are known to exist around the world. Most in museums including two in the Smithsonian, one in Tokyo and several in Canada.

Only 4-5 are in private collectors hands. I am now one of them and will be restoring it to the best of my ability and sharing all the details along the way.
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This is important. Wow.

Has yours been upgraded to a white phosphor CRT? Are there any known working examples?

Yes, mine has a pre-production 12AP4. There are three I know of in private collections that work. There is also one at the Early TV Museum in Ohio that was restored but has not been turned on in years.

I'll be visiting that museum soon to take photos and measurements to aid in my project.

OK, here's the good, the bad and the ugly.
This set is rough to put it mildly. If it wasn't, I would not have been able to afford it.
It's my understanding last two examples on the market sold for $35,000 and $50,000!

Here's a nice example of an "A" revision at the Early TV museum in Hilliard Ohio.
Please click for more info.
I typically visit this museum a couple times a year and will take many reference photos next time I go.
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I purchased this set from another collector and can't take credit for finding it "in the wild".
I was however provided some photos taken back then - around 5-6 years ago I think?
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My "B" cabinet style is a bit different, but otherwise they are very similar.
Right away we can see the front catalin knobs are missing and the tuner looks odd.
The original tuner is gone! Someone drilled a hole in the cabinet and installed a later tuner which I do not have. It was removed by the previous owner who had intended to have the set restored.
As the years went by, he changed his mind and put it up for sale.

Overall, the cabinet is in poor condition and will require extension repairs and refinishing. Lots of veneer separation and loss. Much of the finish is completely gone.

Maybe a job for Fred Taylor?

The back is also missing which had an AC protection interlock.
I'll either need to bypass it or fabricate a new back.
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The leather surround on the beefy speaker has completely rotted away.
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Now for the good. Both chassis are present and mostly intact. Also, the prototype 12AP4 CRT appears to be good - (have not tested it yet).
The set had already been disassembled when I picked it up with the CRT safely packed away.
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This is going to be quite an undertaking!
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"This is going to be quite an undertaking!" You have doggie there to help!

Thanks for the info. I have a wealth of info about the original tuner will get back to it in a bit. It's similar to what you describe but continuous tuning.

Next, let's take a look at the massive power supply. Easily 100 pounds.
This is a sign of the times. Electrolytic caps were still a fairly new thing. Only four in the whole set and three are in parallel!
Most of the filtering is done by massive filter chokes - even the high voltage.
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This chassis is mostly original. Just one major repair.
The original HV transformer has been replaced with one from a later TRK-12 model.
Not exactly a perfect fit. They added a support bracket on one side. The other side is held down by some twisted wire.
The original was held down by metal tabs fitted through slots in the chassis and bent over as was RCAs construction technique at that time.
The original also had all the wires coming out the bottom while the HV leads comes out the side of this one.
A bit ugly for sure, but I'm unlikely to find anything better anytime soon.
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This also led to another issue. This set uses two HV rectifiers. One for focus and one for the main HV supply. That means we need two independent, insulated 2.5 VAC secondaries. The TRK-12 only uses one and a voltage divider for the focus voltage.
Well, that means they had to add a dedicated filament transformer.
That's the open frame transformer we see here surrounded by capacitors.
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Speaking of caps. These are the four electrolytics I mentioned. Three 18uF connected in parallel for the main B+ filter and a 10uF for the push-pull 2A3s plate supply.
The two at the top are originals while the others are replacements. It would be nice someday to replace them with period correct caps so they all match.

The gnawed box to the left also contains caps. Two 10uF and a 50uF but they are not electrolytics.
They are foil, paper and wax encased in tar. The are a couple more blocks like this on the upper chassis.
That's good for me as they are easy to restuff.
I will be using high quality polypropylene film caps to replace them all.
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The HV supplies are brute force half-wave rectifiers on the 60Hz transformer secondaries.
That's why they needed so much filtering. PI filters - two caps with a choke between them.
I've been told the HV caps are oil filled and likely fine so I'll leave them alone for now.
It uses and 878 and 879 rectifier tubes.
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Not many parts down below. Mostly some bleeder resistors in the HV supply.
Six 1M resistors in series right across the 6kV supply.
1kV on each is pushing them hard as 2W resistors are typically spec'd at 750v.
I'll upgrade them when I build replica replacement dogbones.
The phenolic board is warped and cracked. I may attempt to repair or replacement might be a better option.
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Some rewiring will also be required.
This set uses a mix of brittle failing rubber wire and cloth covered.
I'll try to match them as best I can with new wire.
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Here's the PSU wiring diagram and chassis photos.
This and really all the incredible service info and photos I have are courtesy of Darryl Hock.
I think it's fair to say without his fabulous cache of info and vast knowledge of these sets this project would be nearly impossible.
There were never intended to be sold to the public and there's no Riders or Sams Photofact.
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That information should probably be scanned and uploaded to the ETFs website if it isn't already. Documentation like that should be preserved.

I wonder how similar your TV is to the RCA displayed on FDR's home in Hyde Park, NY? FRD spoke at the 1939 World's Fair in New York City and was given a TV. He gave it to his mother with whom he lived. She had an office in a nook between the main house and the library. He told her to put in the back corner because he didn't think television was going to amount to anything.

It was many years ago when I saw it and the guide said there were no plans to restore it.

If anyone could tackle this it would be you. Off you go!

FDR had a TRK-12. Conceptually similar, but it used newer tube types like the 1852

Sure, it will be like eating an elephant, but what a reward! I have zero doubt that it will work again. You might need to install a hoist to move that power supply chassis.

That CRT alone is a piece of art.

LOL, yes that would be handy. I've already order up a heavy duty lazy Suzan turntable to put it on.

Now let's take a closer look at the upper chassis. Here's where things get really ugly.

Here it sits just after I got it home.
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As mentioned earlier, the tuner is gone. It was originally a continuous tuner covering around 40-90 MHz.
Some sort of later tuner was hacked in where all we see all those blue labelled wires. Some run down through an empty tube socket. That's the mixer tube which I assume wasn't needed.

Also, notice there is an empty tube socket on the left side. That's for the 1-V damper tube.
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I popped a new one in and didn't think much of it until I noticed a more modern octal tube socket had been added at the bottom of the chassis.
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I found a 117Z6 full wave rectifier tube in it with the filament connected directly to the AC line. Sure enough, it was wired to replace the 1-V damper.
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While we're down here. Notice the mess? There are two candohm resistors down there with many taps.
Likely some sections have gone bad and were bypassed with external power resistors.
There wiring is also a mess and some caps have been added. How do I know? More on that in a bit.
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Now, for the last major bit of ugliness.
This was the vertical oscillator consisting of a 6A6 dual triode and blocking oscillator transformer.
Instead, we have this mess. The original subassembly is completely gone and replaced with an 884 thyratron.
More commonly seen as the timebase oscillator in early oscilloscopes.
I suspect the original transformer went open and this substituted for it.
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By the way notice the 001073 stamped on the chassis? Remember that.
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I intend to restore the original circuit.
Nice thing is the horizontal oscillator is nearly identical, and I can use it as a model.
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The last bit of ugliness (so far) is all the tacked in caps. None of these are original or should be in these locations. Instead, there should be a box containing two this is missing.
The rest should be in a box on the other side. The box is still there but bypassed. I'll be restuff / fabricating as needed and restoring the original wiring configuration.
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I mentioned the "001073" stamped on my chassis earlier. This is why I pointed it out.
RCA took fantastic, clear, detailed photos of the various parts of this set.
Turns out the photos are of my chassis!
That leaves zero doubt of what it originally looked like before the 12" factory upgrade to a "B".
It's also neat to see the wooden support jig. I'll fabricate something similar for the workbench.
Otherwise once I unmount that CRT funnel the chassis will tip over.
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So much neater before all the repairs and modifications.
Notice no caps on the left side and how clean it is along the bottom?
This is what I am striving for.
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This wiring guide will also be a fantastic guide as it not only shows all the wires but also the original colors.
Now some of the changes are factory from the "B" upgrade. They added a 6H6 tube for example.
So, I'll need to be cautious before I start clipping parts out.
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What are the odds that crt is still useable

Pretty good I imagine. These sets tended to be lower hour since they were so quickly obsolete.

I wonder when the red numbers were added? Perhaps during the "B" upgrade? They
do correspond to designators in the service info.
Also, note the "EXTRA" 6H6 just to the left of "5". This was an RCA factory mod that many surviving examples also have.
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All this leads me to wonder who did the later extensive modifications?
Who would have had this set and the extensive knowledge?
It's also a bit sloppy or downright odd in places.
Like the 117Z6 damper tube?
If it was done in the late 40s or after, why not use an actual damper tube like the common 6W4?
Also, why would you when there was a flood of more modern sets on the market.
The bandwidth and resulting image would not be the best.
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Can you sub that crt with a more modern 12Lp4 if Need be

Not easily. Different deflection angle, anode connector and filament voltage. Also, magnetic vs electrostatic focus

Well maybe you should check that tube before getting in to deep unless of course you have a nos tube ��

If it's bad, I'll come up with something. I knew what I was getting into when I got this set.

Well good luck I hope it tests good

You said a 12AP4. And the literature clearly says magnetic deflection even
for the 9 inch CRT. A 12LP4 will work.

I said electrostatic focus - not deflection.

Sure, you can use a 12LP4 if you:

* Modify the filament voltage from 2.5 to 6.3
* Swap out the HV connector
* Hack up the metal funnel to handle the shorter CRT
* Possibly swap out the yoke because of the steeper deflection angle
* Somehow add magnetic focus and disable the high voltage focus supply

That's really cool that it's the same chassis as RCSs period documentation pictured!

It's possible if that set was being used during WWII (maybe with development of bomber cameras or as a monitor at an NBC TV station, or in a military hospital in the US) and the 117Z6 was a wartime tube shortage workaround to the correct tube being unavailable. IIRC the 117Z6 was available prewar and used for the AC supply in Battery/AC portable radios...I have to wonder if it needed it's own isolation transformer to avoid heater-cathode shorts.

RCA was factory updating their 39-40 models as late as 48 and probably supporting them longer...They kept prewar sets around for that and may have kept this around for some purpose that required it to work.

The 12AP4 can be tested on a modern tube tester. I checked mine (after dealing with bad soldering on the heater pins) on my B&K 466 using 10BP4 settings for everything but the heater and was able to get a decent idea of emissions.

They ran the 117Z6 filament directly to an AC plug. This tube is dated 1949 but the type appears to have been introduced in 1940.

So, it's entirely possible the modification was made during the war and I have a later replacement tube installed.

What's also odd in the set is the wiring used for some of the mods. Some is solid 14 gauge house wiring, some stranded. Sometimes several lengths of different types spliced together. That leads me to believe someone was using whatever they had lying around.

If it was an RCA employee, I would think they'd have access to better quality parts.

OK, how about that tuner?
As mentioned earlier, the mixer is on the mains chassis. There is also no active RF front end.
The only active device on the tuner is a type 76 tube used as the local oscillator.
It is continuous with three ganged capacitors. Tuned antenna, mixer and Hartley VFO for the LO.
Those coils are wound next to each other on a common form for coupling.
Dead simple and badly radiates the LO back through the antenna!

Darryl to the rescue once again :D
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Here's the schematic from the original "A" version.
Note the use of an experimental A-305A tube. Mine is missing, but a 6D6 may work well enough.
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Later revisions used a rotary switch 6J5 and 1852.
Big thaks to Dave AKA "streetmechanic14" for this photo
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Very similar to the Meissner design.
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I'm going to experiment with a ganged cap salvaged from a Hallicrafters shortwave radio with similar range to the original.
Not necessarily going to be the final tuner I use in the set, but I figure it will be fun to try and get something going.
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Darryl also kindly identified the parts in the photo using designators from the schematic. This will be a big aid.
L1/2/3, L45 and L4 are the coupled coils wound on a phenolic form.
I'll also examine one in person at the Early TV museum soon.
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Best of luck with the project Bob. Just getting the TV to be an accurate reproduction of the original components and condition will be intense.

What are you going to use as a signal source to try this TV out when you complete the restoration?

It should work fine with a modern 525 signal source. Otherwise, there are standards converter kits for 441 line.

I was more concerned about the modulation schemes (Video: vestigial AM and Sound: FM). I guess they had that ironed out before 1936.

I believe the 441 line upgrade did realign the IF for 4.5MHz audio carrier spacing and VSB. The sound detector is AM but will handle FM to some extent. Quality and volume won't be great but we should hear something,

With sets selling as fast as the plants could crank them out in '49, if this one was available for free to someone, I could see someone dumping a bunch of time into it...with hopes of having television for "nothing". It's hard to imagine it impressed anyone with those hacks but, heck, people were buying 3" Pilots. I could see guys like us giving it a try if we were around back then.

Making it look right will prove, I feel, quite a bit more of a challenge than making it work. But 100%, it will happen.

From July 1936, the RCA television field trial was tested on the FCC authorized experimental frequency band: 44 to 50MHz. In 1938, the FCC authorized the band 39MHz to 44MHz for Armstrongs FM experiments.

From July 1936, RCA television utilized on the 44 to 50 MHz band a video carrier frequency of 46.5 MHz and an aural (sound) carrier frequency of 49.75 MHz. This meant the video audio carrier spacing was 3.25 MHz and the video bandwidth for 343 line interlaced at 60 fields per second was 2.5MHz.

Video Modulation: Amplitude Modulation (AM), double sideband.
Audio Modulation: Amplitude Modulation (AM), double sideband.

343 line television used thru 1936-1937 was pre Kell Factor. The introduction of the Kell Factor in late 1937 early 1938 allowed for the increase of lines to 441. Video transmission was still AM double sideband with the same 3.25MHz video-aural carrier spacing.

In April 1939, about a couple of weeks prior to the the television demonstration, RCA switched to VSB with the video- aural sound spacing I believe at 4.5MHz at that point. There must have been a jump in horizontal resolution which was maintained until 1941 with the NTSC adoption of 525 line and reduced relative horizontal resolution with the 0.6 Kell Factor.

Note that the UK 1934 BBC 405 line standard was designed with pre Kell Factor of unity. I recall reading of CBS engineers visiting the UK in the 1950s viewing BBC 405 pictures and remarking how sharp the images were. (Although that may have been mostly due to the 4.5" image orthicon tubes the British were using at the time).

So the move to VSB was not until April 1939 which means the 1937 set most certainly would have had a 3.25MHz sound spacing and only a 2.5 MHz video bandwidth. If a 525 video was to be applied, the pictures will be quite soft unless the amplifier design is modified. Also because the IF band in this set was from around 8 to 14 MHz, altering the response to achieve a good vestigial sideband response with accurately place Nyquist slope could be a bit of a challenge.

Lastly the horizontal sweep frequency of 343line was 10,290Hz. (Not far from the 405line horizontal sweep rate of 10,125Hz). Moving it to 15,750Hz and ensuring efficiency and linearity may be (or once was) a challenge. My guess is some of the changes were done likely professionally initially by the factory and later hacked for NTSC 525 and FM sound with the hacked new tuner.

I expect you will discover interesting attempts to more or less enable the set to cope with the later NTSC signal. But it would be interesting to see it perform as originally intended on 343 or 441 lines.

The information on the 1930s RCA television development is well preserved in the RCA publication of Television in five volumes. I have attached a link to Volume 1 covering 1933-1936.

https://archive.org/details/televisionvoli1901unse

A few corrections:

Their 343 line standard was 2.25MHz. From the "TEST INSTRUCTIONS FOR THE R.F. ALIGNMENT OF THE RC-199 TELEVISION RECEIVER" document attached.

The resolution was 1.5MHz not 2.5MHz as listed and graphed in the "HIGH DEFINITION TELEVISION RECEIVER NINE INCH MIRROR LID CONSOLE TYPE RR-359" manual. A copy of my manual can be found here: https://www.earlytelevision.org/pdf/...359_manual.pdf

Dr Kell devised the "Kell Factor" in 1934 well before the design of these sets so it was in use when these sets were designed. The RR-359A's have a Kell Factor of about 0.6.

The vid/aud spacing was changed to 4.5MHz in 1937 when the sets were upgraded to the 12" RR-359B's. All the video IF's and mixer were swapped out for the "B" upgrade per the "CHANGE FOR CONVERTING RC-199 TO RC-199B" engineering document. This doc also outlines various component value changes throughout the chassis.

No changes to the horizontal sweep needed to be made. They run efficiently from 240 to 625 lines with full width and good linearity.

All pre-war television run fairly well on FM audio using slope detection. RCA put out a letter to all registered owners after the change in 1941 that they would align their sets for slope detection at no cost.

2.25 MHz sound spacing was used in 1933-34 not for the 1936 343 line and 441 line broadcast tests from July 1936. It is described in the volume 1
Television.

Do not confuse this with the earlier 240 tests described.

Goldsmith described that RCA engineers arrived at a 6MHz channel without the details of the video-aural carrier frequency spacing. You have to dig a bit to find the information.

But think logically about this: they identify the carrier frequencies which would fit nicely in the 44MHz to 50MHz channel. The RCA Volume 1 Television explicitly lists the sound carrier as 49.75MHz and the video carrier at 46.5MHz. The difference.is 3.25MHz.

The video aural carrier spacing could not be moved to 4.5MHz until after the modification from double sideband to vestigial sideband which RCA made immediately before the 1939 World's Fair. Your documentation identifying the change must be from 1939 not 1937..
I know this is correct. I encourage you to look for it. If you require further evidence I will dig it out for you.

Find attached pg 17 from volume 2 of Television, "Recent Developments in Television". Note how the 343line 3.25MHz video aural carrier spacing was also used for 441 lines.

Next I will look for evidence of the 4.5MHz video aural carrier spacing switch. 4.5MHz spacing could not be used for the AM double sideband transmissions prior to April 1939.

What I've stated was not guesses or extrapolations. I am very familiar with all of RCA's television development from 1928 thru the TRK sets as I have most of the original manuals, engineer notebooks, schematics, photographs, etc., part of which I have shared with Bob. I have quoted from my original RR-359 service manual and RF alignment engineering supplement and the RR-359B engineering change log. I have provided Bob with the schematics and photographs of his set. All these documents came from the original RCA engineers, DeHaven, Holmes, Carlson, etc.

I am familiar with the specifications, performance and operation of my own RR-359A1 and RR-359B and other prototype sets. I enjoy looking through the Television series books, but there are many deliberate misdirections, like the LO being coupled through the tuning capacitor shaft on the continuous 359 tuner. I'll stick with the original engineering documents and the actual sets :)

Darryl

I found the transition to 4.5MHz spacing was done in March 1939, a month ahead of the 1939 New York World's Fair. It was published in Television volume 3 (1938 to 1941) in the paper " A Vestigial Side-Band Filter for use with a Television Transmitter", pages 251-2. Page 253 Fig. 1 depicts the interim 1939 VSB channel with 3.25MHz Video-Aural spacing and the 1939 to 2009 VSB channel with 4.5MHz Video-Aural spacing.

The added video channel bandwidth allowed by the increase in the video-aural carrier spacing from 3.25MHz to 4.5MHz certainly would have improved the horizontal resolution. It was in the spring of 1941 that the horizontal resolution would be somewhat sacrificed to facilitate the 525 line NTSC standard.

If only Holmes and Lev had read the Television books before writing the RF Alignment engineering note for the RC-199 (RR-359A main chassis) dated June 22, 1936 ;)

The RC-199 (RR-359A) was 2.25Mhz spacing, the initial change to RC-199B (RR-359B) was 3.25MHz, the final modifications to RC-199B was 4.5MHz.

The notes if dated June 22, 1936 is curious. Clearly the 240 line system had a narrower channel. The frequency response depicted in the second attachment does not relate to the July 1936 test and mail perhaps be a 240 line channel video aural carrier spacing which was approximately 1.5MHz. the 2.25MHz appears perhaps simply to define a reference between the sound carrier position and edge of the video response not the carrier position. Remember this is pre VSB transmission.

It appears development was moving rapidly and the decision to raise the resolution with number of lines which required wider bandwidth may have occurred rapidly. This can be gathered from the volume 1 Television.