and vertical timebase must be in a precise ratio. This is done by passing the one through a series of electronic divider circuits to produce the other. Each division is by an odd integer. Therefore, there has to be a straightforward mathematical relationship between the line and field frequencies, the latter being derived by dividing down from the former. The technology constraints of the 1930s meant that this division process could only be done using small integers, preferably no greater than 7, for good stability. The number of lines was odd because of 2:1 interlace. The 405-line system used a vertical frequency of 50 Hz (standard AC mains supply frequency in Britain) and a horizontal one of 10,125 Hz (<span title="frame rate">50 × 405 ÷ 2 or, using the frame rate, 25 x 405), with 405 being derived from (3 × 3 × 3 × 3 × 5). Comparison with later standards Bandwidth When used with vestigial sideband filtering, the total bandwidth of a 405-line TV channel is 5 MHz, significantly less than the 8 MHz required by the 625-line system I, which replaced it in Britain. Systems in other countries used anything between six and fourteen megahertz of bandwidth per channel. Coverage The use of VHF frequencies combined with the narrow vision bandwidth — AM signals (at VHF low band frequencies) are less affected by noise as bandwidth is reduced — meant that 405-line signals could be received well even under marginal conditions. Therefore, it was possible to cover virtually all of the UK with a relatively small number of transmitting stations. Susceptibility to impulse interference The use of AM (rather than FM) for sound and the use of positive (rather than negative) video modulation made 405-line signals very prone to audible and visible impulse interference, such as that generated by the ignition systems of vehicles. Such interference manifested itself as a loud popping on sound and large bright spots on the picture, which viewers found much more noticeable than the dark spots encountered when such interference is encountered on a signal using negative video modulation. With positive modulation, interference could easily be of similar amplitude to the sync pulses (which were represented by 0–30% of the transmitter output). The early time-base circuits were less able to discriminate between the signals and the picture would break up. By contrast, in negative modulation sync, pulses represent peak transmitter output (70–100%