LEARNING THE

RADIOTELEGRAPH
CODE

Published by THE AMERICAN

RADIO RELAY LEAGUE
Newington, Connecticut 06111
U.S.A.
Copyright© 1970 by The American Radio Relay League, Inc.
Copyright secured under the Pan.American Convention. Inter·
national Copyright secured. Thia work is Publication No. 18 of
The Radio Amateur's Library, published by the League. All
rights reserved. No part of this work may be reproduced in any
form except by written permission of the publisher. All rights of
translation are reserved. Printed in U.S.A.

Quedan reservados todos los derecbos

Thirteenth Edition

Library of Congress Catalog Card Number: 55-8967

foreword
tROUGHOlIT THE NATION World War II brought great \ nterest in learning
the International Morse radiotelegraph code. Innumerable buzzer classes and radio
courses sprung into being and thousands of people went industriously to work
mastering the dots and dashes. Many requests were addressed to the American
Radio Relay League, the national society of radio amateurs, to produce a piece of
training literature that would be a reliable and helpful guide to those who were under-
taking to learn this new language. It was to fill that need that this booklet was written.
It did that job well.
Today its primary purpose is to furnish guidance in learning to send and
receive the code, a requisite to the attainment of an amateur radio operator license,
to those thousands who are newly taking up one of the world's most fascinating
avocations.
It is from an amateur background of long familiarity and experience that there
comes the ingenious idea here outlined for learning the code. The emphasis on
learning the sound of letters rather than the sequence of their dot-and-dash com-
ponents is strictly in accord with modern thought in the field. The applicability
of this technique to code learning has been thoroughly tested; it is unquestionably
the best way, as is also attested by its employment in the schools of the Army,
Air Force and Navy.
There is something fundamental, almost universal, about this business of code.
Its applicability far transcends radio and wire circuits. It is sent by blinker lights, by
heliograph, by wig-wagging a flag. Automobile horns and the whistles of ships and
locomotives can be "keyed" to make these si$fials, understandable to anyone who
knows the code, and we have even heard an airplane pilot signaling a letter or two
by manipulating his engine throttle. An unusual example, to be sure, but illustrating
the thought that whenever there is any way of turning on and off for varying lengths
of time anything that can be heard or seen, those who know this universal code have
peculiar and often invaluable ability to communicate. So important is this knowl-
edge, so frequent its benefits, that we have long thought that it should be imparted
in the public schools, along with the ability to swim and to administer first aid.
You should know this code. It is the key to the first door of the fascinating
hobby of amateur radio, the peacetime avocation of three hundred thousand enthusi-
asts. It is similarly a steppingstone to other radio fields. We hope this booklet gives
you the help you need. Good luck!

JoHN HUNTOON
General Manager, ARRL
Newington, Connecticut
 Contents
Learning the Code . . . . . . . . . . . . ... 5
THE MECHANICS OF CODE-ELEMENT SOUNDS-
LEITER SOUNDS

Learning to Send 12
KEY ADJUSTMENT-FOR.MING CHARACTERS-
ADVANCED PRACTICE-SPECIAL SYMBOI.S- PRACTICE
CIPHER GROUPS

High-Speed Operation. 20
WORD SOUNDS-COPYING BY TYPEWRITER- "BUG"
SENDING- AUTOMATIC EQUIPMENT-THE
SUBCONSCIOUS MIND

Operating on the Air . ............. 24

GENERAL OPERATlNC DATA-ABBREVIATIONS-
MESSAGE FORM-LOG-KEEPING- RADIO OPERATOR
LICEl\SES- CALL SIGNAI.S

Code Practice . . . . . . 31
TONE SOURCES FOR PRACTICE-A CODE INSTRUCTION
TABLE-PRACI'ICE SCHEDULES

Class Instruction . . . . . • 38
EXERCISES IN RECEIVING AND SENDING

4
Learning the Code
• The ll1echanics of Code
• Element Sounds
• Letter Sounds

You ARE abo ut to learn a new language - the language of code.

The radiotelegraph code is essentially a language or sound. As such, it is quite
difficult to illustrate in a book, and we shall have lo ask that yo u follow each step
closely and pay attention to every de tail of learning as outlined in the paragraphs
to follow.
One importa nt preliminary: forget completely about "dots" and "dashes:" Those
terms were invented for the old land.line telegraph system, and they huvc absolutely
no place in a modern system or learning radiotelegraph code. Forget, too, about any
other code chart or ta ble you may have seen or memorized.
The Continental (International Morse) Code is the one used in all radio work.
It consists of various combinations of sounds a nd spaces, forming letters of the
alphabet, numbers, punctuation marks and procedure symbols. The sound usually
takes the form of a high-pitched audio to ne having a rre(1uency or about 500 cycles
per second (approximately C above middle Con the piano), mo re or less, de pending
upon the receiving operator's indi vidua l preforence. Lacking an audio oscillator
itself for practice, the best way 10 simulate the high-pitched sound of code in
headphones is to whistle.

THE MECHANICS OF CODE

To illus trate how closely allied are radio code and human speech, let us liken
the mechanics of code to those or our own spoken Engl ish language. Human speech
is made up of a n umber of pure sounds, such a "ah," "ce," "olt, " and "oo"
(as in "ooze"). We combine these to form other sounds, and those lo form words.
The sound of the letter I, for example, is not pure but it is made up of two others
"ah" and "cc," spoken in rapid succession.
The radiotelegraph code is similarly constructed, but ac tually it is much easier
to learn since there are but two fundamental sounds. In reality, cuch sound is the
same tone and differs from the o ther only in length. The first i~ ve ry short and
staccato, the o ther somewha t longer (three times as long, actually) . Sirice this
high-pitched lone or whistling cannot very well _be shown in print, fo r instruction
purposes au ral terms have been coined which closely duplicate the actual clement
sounds in code. We speak of the short sound as "dit," of the longer o ne as "dah."
Combinations of these sounds, properly interspersed with spaces, are used to rcpre·
sent the various letters of the alphabet just as are the sounds in the spoken language.
For purposes of exphnation to you and to whoever might assist you, let us say
that the sound "dit" is pronounced as "it" with a "d" before it. The sound " dah"
is pronounced with "ah" as in "fot her." T he sound " dah" is al ways stressed or

5
 LEARNING THE

accented - not in a different tone of voice, but slightly drawn out and the least bit
louder. The sound "dit" is pronounced as rapidly and s harply as possible; for
purposes of easy combination, as a prefix, it is often shortened to "di." When
combinations of the sounds appear as one letter, say them smoothly but rapidly,
remembering to make the sound "di" staccato, and allowing equal stress to fall on
every dah. There should never be a space or hesitation between dits and dahs of
the same letter.
These are simply convenient vocal terms to use in duplicating the sound of code.
You should never think of a letter as being composed of certain separate sounds,
hut rather as a complete sound itself. You don't think of the spoken letter U, for
example, as being composed of two separat~nd distinct sounds - yet actually
it is made up of the pure sounds "ee" and "oo," spoken in rapid succession. You
learned the spoken letter U as a sound unit itself. Similarly, you should learn code
letters as sounds themselves, and not as combinations of other sounds. A skilled
operator does not think of di ts and dahs when copying, but actually hears the head-
phones speak words to him. He has mastered this new language. The sound "dah
didididit dit" is just as familiar to him as the sound of the spoken word "the,"
for which it stands.
In no event should you use the "didah" table below - or any other such chart
- for memorization study. If you do you will have a visual concept of code instead
of an aural concept, and when you hear sounds you will have to convert them
first into "didah" language, and then into letters. If you learn the sounds directly
with their letters, however, without using visual references, you will eliminate this
extra step while learning.

ELEMENT SOUNDS
Before taking up letter sounds, however, let us observe some of the element
sounds. Practice saying to yourself t he sound "dididididi . . . " (dits in rapid
succession). It should sound like a blast from a machine gun: staccato, evenly.
spaced, precise. To make certain yo u get correct timing, start tapping the top of a
table continuously in smooth, even sequence, like clockwork; if a metronome is
available, it will serve admirably. The tapping (or metronome ticks) should be at
a.bout 100 per minute, or a bit less than two per second. Synchronize your tonguing
of dits at four per metronome beat. Be careful not to say "didididit .•. didididit
. . .", thereby leaving a space after every fourth dit; they should be as even and
regular as the metronome beat, but four times as fast. If it will help, sligh tly accent
the dit which coincides with the metronome beat. When you can do this easily,
begin repeating "dahdahdahdahdah . . ." so that the beginning of each serond
dah synchronizes with a metronome tick (or table rap). Let the dahs run smoothly
and make them of equal length. Do not let them become choppy; your voice should
be almost continuous, broken only for that short instant your tongue cuts off the
tone to make the "d" sound.
Now alternate, repeating dits for a moment and then switching to dabs, without
stopping to take a breath. This will show you the proper proportion of dits to dahs
at this speed, or any speed to which the metronome is set; that is, four dits or two
dahs per metronome tick. You should now practice alternating this voice simulation
with whistling. Again, make your whistled di ts very short and staccato, your whistled
da hs smooth and full.
A graphical representation of the relation of the metronome beat to the spoken
dits and dahs might be that shown below; the beats are shown by small dots, and

6
the dabs are spelled "dahh" to complete the mechanical relation:

didididididididi didididididi didididididididi didi

dahhdahhdahhdahhdahhdahhdahhdahhdahhdahhdahhdahh

Another excellent practice exercise is the alternating of single dits and dahs.
Practice reF,ting (and then whistling) "didahdidahdidahdidah . . . ," and then
"dahdidahdidahdidahdi . . . ." Here again the tone should be almost continuous,
the dit as short as possible. An hour, in several shorter periods, is not too much
time for these exercises. If you can master them, you will have no difficulty in
forming the various letter and number sounds.

LETTER SOUNDS
When you have mastered the timing and rhythm exercises explained above,
you can begin to combine these groups and form letter sounds. In doing so, remem-
ber that this is a new type of spoken language you are learning, not a collection
of short and long code symbols taken from a printed page. In fact, it might be better
to forget that you are learning "code" and think of it instead as the "didah"
language.
This is how you should proceed to learn the letter sounds: if possible, get someone
who knows the code to start you off. Or, a member of your family or a friend
(preferably not one also wishing to learn code) will suffice if he will study these
paragraphs and practice the subsequent voice exercises a short time. Give him the
hook. ·Then ask him to pronounce the sounds to you, identifying them with the
letters for which they stand. Take a few letters at a time, such as in the groups
suggested below. As your "instructor" sings out the sounds to you, you should be
able to call out the letters, or vice versa. This is excellent practice. It will come
harder at first, possibly, than other ways, but you are set for a successful code career
if you learn by sound. In other words, after you read this section do not go back
and memorize the code tables. Don't even take another look. Get someone to call
out the sounds to you, either by "didah" language or whistling, and preferably a
combination of both.
Let us take a few letters and numbers to start with, as shown in the following table.
Remember that you should look at this table only briefly while reading this text;
when you come to study, have someone hold this book and coach you in memorizing
the code sound of each letter.

5 dididididit

0 (zero)
-----
dahdahdahdahdah

E dit

T dah

A didah

R didahdit

7
 LEARNING THE

The "5" should merely be five staccato dits in the same sequence and speed you
practiced earlier; the zero should similarly be five dahs. "A" is our first character
using both sounds. Make that di very short, the dah the usual length, properly
stressed; it should have the same metric swing as does the word "to-~," rapidly
spoken and strongly accenting "day." Similarly, the "didahdit" of "R" should have
the same metric swing as "repeated," the second syllable strongly stressed, the
final one not accented and as shOrtas you can make it.
Spend at least one half hour on this group and preferably more, although your
practice should then be split up into shorter periods. Take your time and learn
the sounds of these letters thoroughly. Repeat them in "didah" language, and
then whistle the characters. You will find it interesting to make up some words from
this group of letters, such as:

ATE HAT TEAR 50 ERA RATE 05 ART TARE

You should immediately begin practicing copying down the characters your
instructor calls out to you in sound. Copy them simultaneously, speaking the
letter if you like. For the first copying practice it is well to print; in the transmission
of non-English text, which you often will be getting for letter practice, longhand
letters are sometimes confused with each other. For example, L is mistaken for E,
an uncrossed T for L, etc. The Army Signal Corps requires printing ability by its
field operators, since much of the text handled is in code groups and errors would
cause much difficulty in reading the actual message. Print until you are able to
receive about ten words per minute, above which speed you will want to resort to
longhand to keep up with the text.
Learn to print the characters rapidly and without conscious effort; your mental
effort must be on reading the code sounds and not on your finger movements.

5,0ETAl~ W l< Z M
S LU Q0- DX FG
l-t ON CV 1234
B v+ p 6 l 8q
Signal Corps operators learn this method of handprinting letters,
shown above in the groups by which you will learn letter sounds.

Never look back over your copy when receiving, nor try to guess what word is
coming; copy what is sent. If you do not immediately recognize a character, skip it
and devote your full attention to the next one; if you try to think back, you doubtless
will miss several letters in a row. By checking your written copy with the transmitted
text, you can determine what letters are giving you trouble and give special attention
to them.

8
 Here is another group of letter sounds. You are ready to learn them when you
can instantly call out English letters for code sounds spoken to you, or vice versa'.
Before beginning their study, have your instructor review you on the fust group;
do not be so eager to learn fast that you forget old sounds! Intersperse learned sounds
with new ones when studying this next group:

s dididit

L didahdidit

u dididah

Q
-- -
dahdahdidah

J didahdahdah

The· first letter obviously is simply three staccato <lits. L is more difficult; its
metric swing is like that of "fraternity"; again, make <lits rapidly, particularly the
final ones, and stress the dab. uTs s
similar to with the final dit changed to a dab;
practice the two letters interchangeably to get the rhythm. Q and J should be
smooth; stress each dab equally, make the dit short.
Study these in the same manner as the previous group. You have nearly twice
as many letters to remember now, so your progress will be a bit slower. Don't rush;
learn each sound thoroughly before proceeding to the next. Speed will come later,
and it will come rapidly later if you learn by sound. There are quite a number of
words which can be made from the letters so far studied, more examples of which
are here given:

SELL REQUEST JAR LURE RUSE SfARE

SUET SQUEAL JET QUEE~ SLATE JUTE

QUART LESSER QUELL JUST TESLA SALES

Practice saying the sounds to yourself, particularly between study sessions. Oc.
casionally you should have an operator who knows code check you on your progress.
Here is a third group, to be taken up only after you have learned the previous
eleven characters well:

H didididit

0
-dahdahdah
--
N dahdit

c
-
-dahdidahdit
v didididah

9
 LEARNING THE

The first two letters should give no trouble. Be careful not to have a space in the
sound for N; nor to make the dit anything but short. C can best be simulated by
remembering our earlier exercise of alternating single dits and dahs; practice that
again momentarily, and you should have no trouble.
When learning the sound of V, practise H and then make the final dit a dah;
practice the two letters intermittently as you did U and S, repeating in your mind
what letter is concerned with each sound. Again, some suggested practice words
for the new letters:

COVERLET ALONE CANCEL VOCAL HOVER THE

COLLECT NEVER THAT SHONE LATHE SHEET

THESE CONQUEST THERE NEUTRAL SEVERE

TENET RUNNER ENCLOSE RELUCTANT JOCULAR

JOVE HELEN LUNAR CONCLAVE RECLUSE

Here is a fourth group of letter sounds

I didit

B dahdididit

y dahdidahdah

p di.dahdahdit

By now you should have developed sufficient timing sense and code consciousness
that you can pronounce new sounds without difficulty. Simply remember to keep
characters smooth, without spaces.
In between practice periods, when convenient, notice street signs and posters
containing these letters; when you see one you know, call out its code sound.
Keep this practice principle always in mind and use it a great deal; you will find a
goodly amount of idle time you can put to good use - riding back and forth to
work, or walking to the corner drugstore. Or even if you are not in the vicinity of
signs, there are a number of short words you can practice saying to yourself in
sound language. Make your character formation snappy; leave a recognizable
space between letters, plenty of space between words. Use both whistle and voice
technique. We want to get you thinking subconsciou£ly of code whenever you see
letters and words. This spare-time practice is probably the most important single
factor in the progress you make.
Try some words like these to gain familiarity with the new letters:

BOTTLE CORNCOB YESTERYEAR HONEY TBlS

POPPY JITTERS BATTERY BAY SISSY

RECONCIUATE COUNCIL BONY PHONE JOIN

SUPPER PAVE SHIP PAY CAPON NYLO'.'I COIN

PYRITES COPY BOIL PEBBLE CAVITY VICIOUS

10
Now, another group:

w didahdah

K dahdidah

z dahdahdidit

M dahdah

When these have been thoroughly learned, you may proceed to the final group:

D dahdidit

x dahdididah

F dididahdit

G dahdahdit

Here are some practice words for the last two groups:
WORK BUZZER ZERO SLOW HARK WARMER

JERK SUZANNA BUMP QUIRK MAKE WINK SIMMER

MAP SKIM MILK TOMORROW WHOLESOME JAM
QUALMS LOWLY WHARVES POMPON WAR MARK

DOCK KIND FlNGER DOLORES DEXTEROUS GOLF

KIDDER FIXTURES GOODLY JIGGER JINX FOGGY
STUFFING DOG FLIGHT DRAUGHT FLING FOX GOD

FADDIST GUFFAW DAGGER MEXICAN DODDERING

You already have learned the two simplest numerals: five and zero. The others are:

1
----
didahdahdahdah

2
---
dididahdahdah

3 didididahdah

4 dididididah

6 dahdidididit

7 dahdahdididit

8
---
dahdahdahdidit

9
----
dahdahdahdahdit

II
 Learning to Send
• Key Adjustment • Forming Characters
• Advanced, Practice • Special Symbols
• Practice Cipher Groups

IT IS important that you should learn the correct sound of code letters thoroughly
before ever touching n telegraph key. If you do not know how a code letter should
sound, no amount of playing with a key will teach you. When you are at the point
where you can unhesitatingly call out each letter as your instructor pronounces
or whistles the sound, you are ready to learn how to handle a key. First, however,
you need some device to produce a tone. A buzzer set will serve the purpose but
a much better tone source is the vacuum-tube oscillator, since it duplicates the
audio-frequency beat note a radio operator hears. Construction data on both types
are given later in this booklet.

KEY ADJUSTMENT
A telegraph key is simply an on-off switch in convenient form for rapid manipu·
lation. Pressing the key knob closes the electrical circuit and produces the "mark"
or sound; releasing it allows the contact to break, producing the space or no-signal
period. Correct key adjus tment is that adjustment which fits your particular touch,
and it is important that you arrive at the correct adjustment before attempting to
use the key. A reliable rule is that there should be a vertical movement of about
one-sixteenth inch a l the key knob.
T his is measured from the top sur-
face of the kn ob. I l is set by the
rear screw adjustment. When the
knob's top surface goes down
about one-sixteenth inch upon
pressing the key, you have the
approximate "average" spacing be-
tween the key contacts. In making ~~ f:
any key adjustment, be sure to 6llliit
loosen the lock nu ts first so that
you do not s trip the threads.
Tighten all lock nuts when you
complete the adjustment. The con· Illustrating t bc correct position of the band and
tact points should be perfectly fingers for the operation of a telegraph key.
aligned by means of the side screws.
There should be n very slight degree of side play between the two side screws.
These screws should be tightened, then loosened just a bit, so that the key moves
freely and docs not bind. Recheck the contacts after this adjustment to be sure they
are true, making any sligh t readjustment necessary.
Although the "one-sixteenth inch" rule is a good one to follow for first adjustment,

12
the amount of vertical movement can Space
adjustment
later be changed to suit your particu-
lar "fist." The spi:ing tension, like-
wise, must be set for the individual
operator. Some prefer a heavier spring
than: others. The primary considera-
tion is to send good code; how you
have your key adjusted to do this Pivot ond
-~enlerln9
depends on what you find best for you. · adjustment
However, it should be remembered
that too heavy a spring tends to make
your sending "choppy," causing you Sprlr19
to "clip" your dahs and dits, as well adjustment
tension
as being tiring for long periods of
sending. Similarly, too light a spring
tends to cause you to run characters
together, there being insufficient con-
trol of the key. Remember, you are
making the characters, the key isn't!
Generally speaking, a somewhat heavy Essential fea-
spring allows better control, particu- tures of a tclo•
graph key.
larly of dits. With a spring of "feather-
weight" tension, the dits are likely to
run away from you and you will find
yourself slurring them. No treatise on
key adjustment can ever solve the individual's problems in this line. Only by
personal use can you find the correct adjustment for yourself.
There is a definite sending posture which should he observed. Sit upright in your
chair, square with the operating table, with your arm on a line with the key. The key
knob should be about eighteen inches from the front edge of the operating table,
allowing room for the elbow to rest on the table. The muscle of the forearm should
support the weight, and the wrist should be off the table. A table about thirty inches
in height is best. The key may be fastened by means of wood screws directly to the
table if one is available for permanent use. Otherwise, it may he fastened to a
rectangular piece of thin board such as three-ply veneer, about six inches wide
and two feet long. The manner of grasping a key knob is also the choice of the
individual operator. When learning, place the thumb against the left edge of the
key knob, the first finger on top of the knob at the rear and lapping over the rear
edge just a bit, and the second finger against the right edge of the knob, about in
the center or slightly to the rear of center. In no event should the grip be tense. The
first and second fingers should be slightly arched, not held out straight. The third
and fourth fingers should be permitted to curl naturally toward the palm of the
hand, but they should not be tightly clenched. Keep the fingers, hand and wrist
relaxed at all times.
Now that you are all set, you can begin sending practice. Before taking up letter
sounds it is best to achieve smoothness and facility with element sounds, as we did
in learning by voice. Begin by making a series of dits - ten or more in a row. Make
them evenly spaced, precise, a bit slower than the speed at which you learned the
voice sounds. Work on both dits and dahs, and then alternate, just as you did in
voice work. Here again a metronome, or a substitute such as someone rapping on
the table for you, will be a valuable timing guide. Remember to synchronize your
sending at four dits, or two dahs, per beat. Make the beats about 60 per minute -

13
 LEARNING THE

-: one per second - as compared to the 100 in receiving practice. Synchronize

your sending with the spoken sounds, if you wish. Keep your wrist flexible; allow
it to bob up and down with your sending. If you find that your fingers or whole arm
are doing the work, stop, and start over again. Be particularly careful to make dahs
smooth and full; the tone should be almost continuous, broken only for that tiny
instant the key contacts open.

FORMING CHARACTEUS
Once the rhythms of <lits and dahs have been mastered, we can proceed to the
consideration of the correct formation of each character. This is an important
consideration, for if we do not make every letter and numeral correctly we shall
never send good code. There can be no characters sent incorrectly. It is one thing to
know how we want a character to sound but another thing to make it sound that
way! Let's analyze the correct manner in which to make each character. Starting
with the basic letters E and T, practically every character is composed of combina-
tions of other characters. A study of the correct rhythm for each character (how it
sounds when sent correctly) discloses that certain groups of letters and numerals
are associated. It is urged that you practice the characters in accordance with the
following plan. The letters listed in each group are more or less associated and it is
recommended that practice be "by groups," with each letter mastered in the order
given within each group. Keep your speed at the level at which you make a minimum
number of errors. Accuracy and perfection come first - speed will come with
practice. Here again, it is well to have someone skilled in code check your progress
occasionally.
Group No. 1: The characters E, I, S, Hand 5. With the correct dit rhythm
mastered, you can send all of these dit characters. If you experience any difficulty,
go back and send a series of evenly-spaced dits (dididididididit, etc.). When your
wrist responds, send a 5, using the same rhythm as for the longer series . . • send
an H likewise, etc. This same dit rhythm carries over into other characters which
are made up of didah combinations.
Group No . .2: The characters T, M, 0 and fl. These were covered under the subject
of correct dab rhythm. Little difficulty is usually encountered in making dah
characters. If, however, you find yourself sending them jerkily, go back and practice
the dah series exercise (dahdahdahdahdahdahdahdah, etc.) until you regain the
feel of this action.
Group No. 3: The characters A, R, L, W, J, 1 and P. These all have as their ground,
work the letter A (didah). First master that letter by sending several times a smooth
didah; then send an R (didahdit), which is actually the letters AE sent together
as one character. Always bear in mind that the space between any parts
of a character is the same length as a dit. Next try an L (didahdidit), which is
actually Al sent as one character. Next send W (didahdah), thinking of it as AT
sent together. If you can send A successfully, you can send R, Land W similarly.
The letter J (didahdahdah) should be thought of as WT sent together. The numeral
l (didahdahdahdah) should be considered as JT sent as a single character. It will
be noticed that these combinations give a smooth continuity for each c4aracter.
The letter P (didahdahdit) should be considered as WE sent as one smooth char.
acter. Care must be taken in sending each of these characters that no additional

14
space is left between the two letters making up the complete character. For example:
although Pis WE, take care that you do not leave more than one dit length between
the W and E. The overscore indicates that the two letters are sent rhythmically as
one sound (didahdahdit).

Group No. 4: The characters U, F, 2, V, 3 and 4. Master first the letter U (dididah).
Do not think of U as any combination of letters; think of it only as dididah sent
smoothly. (A dangerous misconception is to think of U as the letters IT; avoid this,
or your character is apt to sound jerky.) Think only of the sound dididah. Next,
tackle the letter F (dididahdit), using the basic letter U as a foundation. Fis actually
UE sent as one character. if you can send U, you can send F. The numeral ·2
(dididahdahdah) is made up of the letters UM sent together; think of it this way
a.nd you will get a smooth 2. The letter V (didididah} must not be considered as any
combination of letters. (A common fault is to consider V as ST, resulting in a
jerky character.) Think of V only as the sound combination didididah. Practice
this, using the dit rhythm, until you send a smooth letter V. One of the most
difficult characters for many operators is the numeral 3 (didididahdah); it is too
often sent jerkily (as SM). To send a smooth numeral 3, think of it as VT sent
together; there you will have the smooth continuity of a correct 3. Conquer the
letter V and you will have no trouble making 3. The numeral 4 must he considered
only as the sound combination dididididah. Do not attempt to consider the 4 as
composed of any letter combinations (as HT) or you will get a jerky character.
In sending the 4, use the same dit rhythm as you do for the 5, making the last
unit a dah instead of a dit (dididididah).

Group No. 5: The charaelers N, D, B, 6, 8, 9 and X. The N, of course, is merely

a reversal of A. Practice the N (dahdit) by sending several times a smooth dahdit.
In making a D (dahdidit), avoid making it sound jerky (as TI) . Think of it only as
·the combination of sounds dahdidit, sent evenly. Likewise, the letter B (dahdididit)
must be thought of only as the combination dahdididit. (it is a mistake to think
of B as a letter combination, such as TS; this results in a jerky character.) The
numeral 6 calls for the same rhythm as a numeral 5, except that our first unit is a
dah rather than a dit. Think of 6 only as the smooth sound combination dahdidididit,
evenly spaced. The numeral 8 (dahdahdahdidit) must not be considered as the
combination OI; this results in jerkiness. It is best to think of it only as the rhythmic
combination dahdahdahdidit. However, the combination MD, with care taken not
to leave additional space between Mand D, will give you a correct 8. The numeral 9
(dahdahdahdahdit) calls for the same dah rhythm as does the numeral 0, with the
exception that the last unit is a dit instead of a dah. The letter X (dahdididah)
should be considered only as the combination dahdididah. (Avoid thinking of it as a
letter combination, such as DT or TU; these tend to result in a jerky character.)
In practicing X, think only of the rhythmic dahdididah, dahdididah, etc.

Group No. 6: The characters G, Q, Z, 7, K, C and Y. Consider the letter G (dah-

dahdit) as the sound combination dahdahdit. With care to keep the spacing correct
it might be thought of as ME sent together, hut it should never be thought of as
TN. (This usually results in an uneven character.) Next, send a Q (dahdahdidah),
considering it as MA sent as one character. (Avoid thinking of Q as GT, which
makes for jerkiness.) The letter Z (dahdahdidit) may be considered as TD sent
together smoothly, although it is better to consider it only as the sound dahdahdidit.

IS
 LEARNING THE

The numeral 7 (dahdahdididit) can safely he considered only as the sound combina-
tion dahdahdididit, sent evenly. (A common mistake is to think of 7 as MS, a jerky
combination.) The letter K (dahdidah) must he thought of only as the sound
dahdidah, smoothly executed. (Do not think of K as any letter combinations, as
TA or NT, both resulting in unevenness.)
Probably the most troublesome of all letters is C (dahdidahdit). In order to get
a smooth character C it is recommended that it he thought: 9f as the combination
KE sent as one character. Here you will find a smooth rhythm, as opposed to the
combinations TR or NN, which are almost sure to result in jerkiness. In actual
practice many operators have found the KE combination their answer to correct
formation for the letter C. Similarly, the letter Y (dahdidahdah) should he con-
sidered as KT, sent together smoothly, as opposed to TW or NM. KT will give you
a rhythmic Y. Master the letter K and you will have no trouble with C or Y.

TABLE OF CORRECT SOUND COMBINATIONS

FOR SENDING PRACTICE
Consider each letter as its individual rhythmic sound combination. If you have diffi-
culty forming cenain letters to make them sound right try the letter oombioatioos sug.
gested, mastering the first letter, then adding the second unit, sending the whole ae one
character.
A - di-dab (not ET)
B - dah-di-di-dit (not~
C - dah-di-dah-dit, or KE (not TR or NN)
D - dah-di-dit (not Tl)
E -dit
F - di-di-dah-dit, or UE (not IN)
G - dab-dah-dit, or ME (not TN or TTE)
H - di-di-di-dit
I -di-dit
J - di-dab-dab-dab, or 'Wi' (not EO or AM)
K - dab-di-dah (not TA or NT)
L - di-dah-di-dit, or Ar (not ED)
M - dab-dab
N - dah-dit (not TE) .
0 - dab-dab-dab (not TI'T)
P - di-dah-dah-dit, or WE' (not EG or AN)
Q - dah-dah-di-dab, or MA (not GT)
R - di-dab-dit, or AE (not EN)
s - di-di-dit
T-dah
U - di-di-dab (not IT)
V - di-di-di-dab (not ST)
W - di-dab-dab, or A-f (not EM)
X - dab-di-di-dab (not DT or TU)
Y - dab-di-dab-dab, or KT (not TW or NM)
Z - dah-dah-di-dit, or Mi
I - di-dah-dah-dah-dab, orIT
2- di-di-dah -dah-dah, or UM (not IO)
3- di-di-di-dah-dah, or VT (not SM)
4- di-di-di-di-dab
5- di-di-di-di-dit
6- dab-di-di-di-djt (not TH)
7- dab-dab-di-di -dit (not MS)
8 - dah-dab-dah-di-dit, or MD (not 01)
9 - dab-dah-dah-dah-dit
l:'l - dab-dab-dab-dab-dab

16
 In all of these examples it should be emphasized that the overscored letter
combinations represent one sound combination, not tbe two sounds of each indi-
vidual letter concerned. For example: KT stands for dahdidahdah (Y), one rhythmic
sound; not dahdidah space dah, two separate letter sounds. In practicing all char-
acters, repeat the sound of them aloud to yourself. (Example: In practicing B, repeat
to yourself dahdididit, dahdididit, dahdididit, etc.)
Determine your difficult characters and practice them until you master them.
With the correct formation of each character as a basis we can proceed to combine
them into words, giving consideration to correct spacing between characters and
between words. With incorrect formation of even one character, our sending will
Jack that "something" which distinguishes between the perfect sender and the
run-of-the-mill. That is why we must first consider each character separately and
practice each separately until we master them all. Then - and then only - should
we start sending words.
ADVANCED PRACTICE
To become expert in transmitting good code, after you have thoroughly learned
each letter and numeral and can both send and copy letters without hesi tation,
your best practice is to listen to commercial automatic tape stations. Perfectly-sent
code can be accomplished only by a machine, and you want to get fuced in your
mind, indelibly, the correct formation of each and every code character and, in
particular, the associated spaces. Notice the formation of each letter, the spaces
left between letters and words, and the proportion in length of dits to dahs.
One of the best methods for deriving this association is to find a commercial or
other tape station sending at about your maximum receiving speed. A few schedules
of press transmissions which will be helpful in practice are given on a later page.
Listen to the transmissions as you would a musical concert, concentrating on assim-
ilating every detail.
The spaces between words may seem exaggerated, simply because you have
probably been running yours together. A score of other details where the automatic
transmission is different from yours will very likely show up in the same text.
From all this you will learn where your own faults lie and be able to correct them.
If you can locate a tape station sending double (repeating each word), you can
get excellent rhythm practice. Set up an audio oscillator alongside your short-wave
receiver so you can hear both simultaneously. As each word comes through the
receiver fuc it in your mind; then, as the tape repeats it, send the same word on your
oscillator simultaneously with the tape, as closely to perfect synchronism as possible.
Perhaps you will find yourself leaving too much or too little space between characters,
DIT
DAH
ELEMENT SPACE
CHARACTER SPACE
-
•
0
c:=i
1
3
1

3
7
TIME DURATION
RATIO. RELATIVE:;
TO "OIT" A S 1

WORD SPACE

••
I I I ii
1 I I I I
•I I ii al I• I
1 I 1 I I 1 I I
•I I
I 1 I 1
••
1
•
I I I I I
I I 1 I
••
I 1 I ii al
T hia chart abowa the mcclianiea I relationa between oodo element eouods, letter aouode and
word 1ouode.

17
 LEARNING THE

or making certain dahs too long - these are the most common errors. Remember
that all inaccuracies are yours, and profit accordingly. By such constant practice
you will learn the proper rhythm and precision of perfect code. It's bound to work
itself, subconsciously, into your sending.
Probably the most important single factor in sending ability is this sense of proper
spacing. While it can be much more easily obtained by listening to tape than by
visual study, the student should understand the mechanical relation of the various
marks and spaces, as shown in the chart on page 17.

SPECIAL SYMBOLS
In transmitting text there is, of course, a need for code symbols for punctuation
marks and some special procedure signals to facilitate rapid transmission. The
important ones are:

Period di~di!!!,!!dl~

Comma ~didi~~

Que1tioo mark didi~~didit

Double daeh ~di di di~

Eod of meuage di~di<!!!?dit

Eod of work dididi2!!!di.2!!

Wait di~dididlt

Iontatioa
to tr&D.1mit .2!!di~

Hyphen
-dahdididididab
-
Pareotheae1 ~di~~di~

Co loo ~~!!!!!dididit

Semicolon .!!!!!di2!!,di!!!!!dit

Qootee di~didi2!?dlt

Error didididididitlidit

Apoltrophe di_!!!!!~~~dic

Fraction bac ~didi.2!!dit

Undentood dididi~dit

Attention ~di~di~

18
RaJiolelegral'h CODE
PRACTICE CIPHER GROUPS
Cipher groups make better practice material than plain English because the stu-
dent can't foresee the next letter. The groups below, taken from the operator's
manual of the Signal Corps, are representative both of the practice material used in
military schools and of ciphered messages actually used in the services. Their break.
down into 5-letter units makes it easy for you to determine your approximate speed,
.figured on the basis of 5 characters to a word.
With someone to send to you, this material of course provides the best possible
copying practice. Check back for your errors, concentrate on the letters that are
proving difficult for you. If you find yourself memorizing some of the combinations
or their order, use each group backwards or start from the bottom of the page.
There are plenty of practice possibilities in the following list, even for the experi·
enced operator who is seeking higher speed on the typewriter.

0 KI C Q A EI 0 U MVHVD J EH DY Z MN Z B
2 4 6 8 0 1 3 5 7 9 APL KM MCNCB NDBGY
CKTOG CJ RN 0 NDHBH PAO KU K DI 0 E
AXBTR YOUMK J TI 0 E MDHNH C V·Q AR

03 759 CE MID M NLFG UEYTA NASTF

CWXCK JXEFY YOUMK QYEUR CFGIL
DKAKX EFMEY V 0 I UM QWZXN CADXA
WQYFZ 4 9 2 8 5 1 2 7 09 MNOPA TTLOR

OMIWG JNABD 9 7 2 0 1 KQZAX MA ID P

HSPCQ JBCYD EFXNK LARDO 7 6 3 2 1
XGLDT PGZUN LCK Q H MQ ECV 7 0 3 6 5
8 0 7 0 1 CTI LL OCYAA BEXZB OHWIM

RKMOZ THQVI ZLJ BI ALCRJ VTNEE

EK JC D HMO US 8 4 7 07 DLZIK HELKF
DJ H NG TVCPT KDKNG PHVTX 4 7 3 8 2
H HHGJ CPTKO FHFUX HIM AD MRFXE

L D 0 SJ 2 0 1 8 4 NTVMG CPNZI 4 03 6 7
1 2 3 1 0 VNFBH WOHZR J B 0 AH OBRDK
BAYQT DIE UY IPAQ.Z GYEVZ PVFKQ
QNBAV JC U WH FNZQJ AR J Z U RBEFP

2 5 8 9 4 8 3 7 4 6 PGMAE DXAQN K DIE Y

JXHGQ LKDOP 1 0 2 7 3 1 1 9 0 2 MD IDH
9 8 0 1 5 WEQFQ DXNZE 0 6 1 4 3 09 16 5
MBUDF 1 7 8 6 3 9 8 2 3 4 CPTOK QZASU

19
 High-Speed Operation
• Word Sounds
• Copying by Typewriter
• "Bug" Sending
• Automatic Equipment
• The Subconscious Mind

IN high-speed copying a new principle is involved. It is one you will reach auto-
matically if you progress sufficiently far in your practice, but it is worth detailed
explanation here.
When one first learns the code by sound, he learns letters first. (In some cases,
students studying visually learn parts of letters first, but we have tried to obviate
that error by teaching code sounds in letter-units.) With a good deal of practice,
one may slowly increase his speed of copying until he reaches a certain point -
differing with various individuals - which is the maximum speed at which he can
copy individual letters without having them seem to run together or blur in his
mental thought. The average is around 28 words per min ute.

WORD SOUNDS
Progress beyond that point must he on a new principle of copying, then. It is
simply the process of copying by word sounds instead of letter sounds. An operator
capable of receiving, say, 25 words per minu te, can listen to 35 or 40 w.p.m. text
and easily pick out the shorter, more common words, such as "the," "and," "but,"
and so on. He can do so only because he is copying word sounds and not letter
sounds. A skilled operator does not hear letters but actual syllables and words. The
code sound "didit dahdit dahdahdit" (the familiar suffix "ing"), for example, is
mentally heard by the skilled operator as a complete sound and not as three different
letters; again, it is as if someone had pronounced the syllable to him. When you
reach this point, you appreciate that the radiotelegraph code is, as we said at the
start of this booklet, truly another language.
However, there is no secret to the attainment of this ability, except continued
practice. You can help yourself, though, by having someone send to you rapidly
(about 10 w.p.m. above your normal receiving speed) the common words and
syllables such as and, of, the, and so on. However, nothing can equal the practice
obtainable by copying commercial tape transmissions.
It should be pointed out that one important prerequisite to high-speed copying is
ability to spell. Since you do not hear letters, hut entire word sounds, spelling of a
word on the typewriter is up to you. True, it was sent only one way, but since
you did not hear individual letters you do not know exactly which were sent;
you know only what the word sounded like to you. You must know the spelling of
words before you can recognize them from their code sounds and be able to trans·
cribe them correctly to the typewritten page.

20
 COPYING BY TYPEWRITER
The mark of a good receiving operator is ability to make perfect copy at high
speeds on the typewriter. Ability to read rapid code "in your head" means little;
what counts is what you can transcribe to paper correctly. Since the limit of hand-
writing ability is about 30 words per minute, one must resort to a "mill" for copy
at higher speeds. This necessitates skill as a touch typist; few "hunt.and.peck"
typists ever became really good operators.

These commoo Engliab words aod syllables, if sent to you by a good operator at high
speeds. make excellent practice for acquiriog the ability to grasp word sounds iu code •.
THE ONS ITS THAT WHICH
I NG ESS WHO HAVE THEIR
AND AVE H IM WITH THERE
ION PER MAY FR01'1·l WOULD
ENT BUT OUT WERE THESE
HER NOT OUR THEY SHALL
TER DAY ANT WILL GREAT
COM INE NOW THIS OTHER
ALL ONE YET WHAT ABOUT
CON SUB TWO MORE THOSE
MAN WAS OWN UPON COULD
EST YOU OLD LIKE FIRST
FOR HTS NEW SUCH MIGHT
ATE HER CAN INTO AFTER
ERS SHE ANY TIME TRANS
NCE HAS TED VERY RADIO

The first step, then, is to acquire that ability - by home study in a standard
course, getting someone to tutor you if possible, or by attendance at some school
such as an evening public school. Your typing should he nearly faultless in ac-
curacy before you attempt code copy, although a high speed is not necessary
immediately. For practice, your typewriter should be placed on a table separate
from th~t supporting the code.practice oscillator or receiver, as the case may he.
A portable typewriter table, on roller casters, is excellent. Sponge-rubber pads
under the typewriter feet will help eliminate vibration.
Use standard letter-size paper, and double space between lines. Do not try to
capitalize any letters at first; all lower-case type will suffice until you become pro.
ficient. Do not attempt to copy from a loudspeaker, for even with the so-called
noiseless variety of "mill" its racket will he interference to the code sounds. Use
'phones. For sustained periods of prac;tice, a set of sponge-rubber earphone pads
will be found comfortable. If you find the headset cord getting in your way, bring
the leads off the hack instead of the front of your body.
Pick a station on your receiver sending at a speed you can comfortably copy
or, if you are using a code machine, set its speed accordingly. Do not expect your
first hour or so of practice to he encouraging; you have to learn coordination
between typing and the mental processes of copying, and that takes time. It is like
the old trick of trying to pat one's head and rub one's stomach simultaneously -
it's not so easy as it sounds.
In practicing, do not listen and then type ferociously for a second .•. and
listen ••. and type hurriedly again. Your typing must be disassociated, consciously,
from your code reception. After you are able to handle this first speed, pick stations
sending a bit faster (or step up the code machine), so that you get about 90 per cent
of the text; when you copy solid, again step up the speed.

/ 21
 LEARNING THE

"BUG" SENDING
The complement of high-speed receiving is of course high-speed sending. You
should never let your sending speed outstrip your receiving speed. However, if
that does happen, it simply means that your conception of the code is mechanical
rather than in terms of sound. A semiautomatic key, or "bug," can be used for
speeds higher than obtainable on a "straight" key, but in no event should a student
attempt to handle a bug until he has mastered the regular key. The semiautomatic
key is a mechanical device which produces a series of dits (when the proper lever
is tripped) by means of a vibrating contact. Dahs are made in the usual manner,
although the operating knobs work in horizontal instead of a vertical motion.
Relieved of the fatigue of tense motions involved in making rapid dits, the fingers
are able to tap out code of much higher speed.
The position of the bug should be similar to that of the straight key. The arm
again should be relaxed, and the right side of the hand should rest on the table
immediately in front of the key. To the left of the control paddle is the thumb,
which when moved to the right trips the dit vibrator; to the right of the paddle are
the index and second fingers (some operators prefer to use only one), which when
moved to the left operate the dah contact, similar to a straight key set on edge.
Operating motions consist of an easy roll of the wrist and hand from one side
to the other. With the key connected to a tone source, practice sending a series of
dits, then of dahs, then of alternating single sounds - just as we did in learning
voice sounds. Take letter sounds in that sequence, as well. Before attempting to
use a bug in actual operating, you should become proficient with it through practice
with an audio oscillator and headphones.
An "electronic key" goes a step further by generating.automatic dahs as well as
dits, through electronic circuitry rather than by vibrating mechanical contacts.
As the proper dit-dah-space relationships are fixed within the unit, a capable op·
erator can send code with extreme precision and with minimum effort. For the
same reason, an inexperienced operator with a tendency to form characters with
less than machine precision will produce gibberish from the unit's output. Accord-
ingly, it is especially important to practice at length with an electronic key before
actually using it in communication.

THE SUBCONSCIOUS MIND

A person just learning to drive a car has no time for conversation; his every
mental and physical effort is bent toward operating the car. Yet after a few months'
experience he can carry on a conversation, occasionally watch the scenery, smoke
a cigarette, etc. - because he has learned to drive automatically, subconsciously.
A good high-speed operator reacts instinctively, subconsciously, to incoming code
- just as a good typist automatically taps out words without thinking of the
position of the individual letter keys.
This may hurt, but the reader may as well know the truth: the ability is accom-
plished principally by practice and more practice. Think in code, talk in code,
visualize code in place of street signs; make it second-nature, just as is the use of
the English language.
Psychologists tell us we can help develop our subconscious minds by me~tally
concentrating on one subject and physically engaging in another. For example, we
might try reciting Lincoln's Gettysburg address while simultaneously writing the

22
Lord's Prayer - or better, while copying it on a typewriter. Practice copying code,
on typewriter or in longhand, while carrying on a conversation with someone in
the room. Send code with "bug" or straight key, while also engaged in conversa.
tion on another subject. This sort of mental exercise will help you separate your
conscious thought from your subconscious reactions so that the latter may devote
themselves to code copying.

23
 Operating on the Air
• General Operating Data • Abbreviations

• ~Message Form • Log-Keeping

• Radio Operator Licenses • Call Signals

tE radiotelegraph code is used for record communication. Aside from ability to

copy at high speeds, then, a good operator is noted for his neatness and accuracy of
copy. It is evident that an operator should copy what is sent, and if there is any
doubt about a letter or word he has copied he should query the transmitting operator
about it.
An operator with a clean-cut, slow, steady method of sending has a big advantage
over the poor operator. Good sending is a matter of practice, but patience and judg·
ment are just as important qualities of an operator as a good fist. Very often, trans·
mission at moderate speeds moves traffic more quickly than faster but erratic send-
ing. In hand operating, unusual words should be sent twice, the word repeated fol.
lowing transmission of "?". A transmitting operator who is notified of interference
on his frequency, either static or man-made, should adjust his speed of sending to ·
require the least number of "fills." Every transmitting operator should have facil-
ities for monitoring to check the accuracy of his sending. Remember - accuracy
comes first.
To this end, an operator copying in long-hand should use extreme care in writing,
so there will be no chance of confusing an "l" with an "e," and the like. On a type-
writer, the best practice is always to double-space between lines, write ten words to a
line with an extra space or two after the fifth word in each line, triple-space between
lines every fifth line. This is for the purpose of rapidly determining the number of
words in a message as it is sent. As one gains mill-copying skill, he will be able to
typewrite subconsciously in this pattern, an example of which is shown here as a
portion of text:
IN FULL FORCE STOP THE ATTAC~ llLL BE SUPPORTED BY
BOUBAROll(NJ "V-IAJION IHH LIOHT AND U(OIUll TANKS IWlltDUftlY PlltCtOINO THt
ARTILLERY UNITS SfOP ATJACH£0 ro EACH DIVISION llLL 8£ UNITS
IF THC SIGN.AL CORPS FROll FORTUONUOUTH NCIJCRSEY UllOER COUUAllD or
llAJOR J IORTHINOTOll SUITH IHOSt OUTIES llLL BE SUPPLYING POINT

fO POINT COllUUNICATION FOR SfAFF HEADQUARTERS STOP THIRTY FIVE HICIM

SPEEO OPCRAfORS llLL 8£ REQUIREO 8Y £ACM STAFF HEADQUARTERS FOR

fME VOLUllC tF TRAFFIC EXPECTED DURIWt THESE

24
 ABBREVIATIONS
To speed up radiotelegraph communication, a number of standard and special
abbreviations have been devised. As time is a factor, uniform practices in operating
are necessary to insure a ready understanding by both operators, so proficiency in
the commonly used abbreviations is to be desired. Some of those prescribed by the
regulations attached to the International Telecommunications Convention for all
radio services follow:

c Yee
N No
w Word(s)
AA All after (used after a question mark to
quest a repetition)
AB All before (similarly)
Aii' End of tranamiu ion
rs Waiting period
BN All between
BQ Reply to a requeat
CL I am closing my etatioo
CQ General call to all stations
JM Make a serie1 of daabes if I may tranemit
Make a seriea of dota to etop my trant·
minion
K Io vi ta tion to tranamit
MN Minute(s)
NW Now
OK We agree (or It la correct)
RQ fodjcatioo of a requ.e at
UA Do you agree
WA Word after (to be uted after a queation mark
to requeat a repetition)
WB Word before (similarly)
ADS Addresa (similarly)
PBL Preamble (aimUarly)
SIG Signature (similarly)
TXT Text (similarly)
SYS Refer to your eervioe telegram
CFM Confirm (or I confirm)
MSG Prefix to radjotelegram
REF Reference to (or Refer to)
RPT Repeat (or J repeat)
SVC Prefix indicatiog a acrvice t elegram
TFC Traffic
P Prefix indicating a private radiotelcgram
NIL I have nothing to send you
XXX XXX XX.X DE. . . . urgent 1ignal indicating mea·
nge to follow regarrung safety of mobile station or peraon1
in 1ight therefrom (PAN is aimilarly used by aircraft);
TTT TTT TTT DE . . . , safety signal sent before meteor•
ological warning messages and those concerning safety of
navigation; SOS SOS SOS DE . . . , distreu signal sent
only by mobile etationa in grave danger wbcn requeatiag
aeeistance (MAYDAY ie the radiophone dis tress call simi·
larly used).

There are also a number of abbreviations used by amateurs and, to some extent, by
commercial operators. They originate with the old press codes in some cases; in
others they have been concocted by individual operators and have found their way
into universal use. We list on the following page some of the more frequently.
encountered ones. While some are purely arbitrary, it will be noted that others are

25
 LEARNING THE

simple phonetic spellings, some are the first and last letters of 'i word. some simply
eliminate vowels, others use the letter X to replace part of a word. etc.:
ABT About
AMP Ampere
BCL Broadcast list.eoer
BK Break
BN Been, all between
BUG Semiautomatic key
CK Check
CL.CLD Closing Btation; call; called
CUD Could
CUL See you later
CW Continuous wave
DLD-DLVD Delivered
DX Distance
FB Fine business, exeelleot
FREQ Frequency
GA Get answer, Go ahead
GB Good-by
GBA Give beuer address
GE Good evening
GG Going
GM Good morning
GN Gone, good night
GND Crouod
HI Laughter, high
HR Here, hear
HV Have
HW How
LID "Lid," a poor operator
MG Motor generator
MILS Milliamperes
ND Nothing doing
NIL Nothing
NR Number, near
OPN Operation
OP-OPR Operator
OT Old-timer, old-top
PSE Please
R Are, all right, OK
RAC Rectified alternating current
RCD Received
RCVR Receh·er
RI Radio Inspector
SED Said
SEZ Saye
SIG-SG Signature
SIGS Signals
SINE Sign, personal initials, signatare
SKED Schedulo
TU-TNX Tbaoke
TNG Things
TMW Tomorrow
UR-S Your, you're, yours
VY Very
wo.s Word, words
WKD Worked
WKG Working
WL Will
WAT What
WUD Would
wx Weather
XMTR Transmitter
YL Young lady
73 Best regards
88 Love and ki8eea

26
In the text of a message, however, no words should be abbreviated by the operator
unless they are so written by the sender. If the text includes punctuation, it should
be spelled out in English.

MESSAGE FORM
Each radio communication service - commercial, amateur, military - pre-
scribes its own message form, but basically all are generally similar to the example
given below. An amateur message is broadly divided into four parts : (1) the pre-
amble; (2) the address; (3) the text; (4) the signature. More specifically, a typical
message contains the following elements: ·

a) Number (of this message)

b) Precedence (R, P or EMERGENCY)
c) Handling instructions (optional)
d) Station of origin
e) Check (number of words in text)
f) Place of origin
g) Time filed
h) Date
i) Address
j) Text
k) Signature

The " precedence" indicates the relative importance of tht: message, as assigned by
the originating station; usually it will be R, which stands for "routine." The handling
instructions, which may or roay not be included, give handling and delivering sta.
tions any special instructions. They use the letters HX followed by another letter,
and sometimes a number. For example, HXA 10 means the message may be de-
livered by collect telephone if received by a s tation within ten miles of the addressee.
A complete message sent by amateur radio c.w. might look like this:

NR 207 R HXB4S WlAW CK12 NEWINGTON CONN 2345Z OCT 25

HERBERT HOOVER JR W6ZH AA 890 SOUTH SAN RAFAEL AVE AA
PASADENA CALIF BT
BEST WISHES FOR A VERY HAPPY BIRTHDAY WITH MANY MORE
TO FOILOW BT JOHN HUNTOON AR

This is the 207th message (usually they are numben:d starting with number one
at the beginning of the year and continuing until the end of <)le year, but the number
is only a means of identifying the particular message), with a routine precedence
(P for "priority" and E.tviERGENCY are used mainly in disaster communications).
HXB48 means that the message should be cancelled if not delivered wi thin 4S hours
of the time it was filed. The station at which the message was originated is WlA W,
the text of the message contains twelve words, and the place of origin is usually the
location of the station of origin. The filing time is given in 24-hour Greenwich Mean
Time. Tbe date is given just as the month and day; occasionally you will hear some
sation give the year, but this is unnecessary and not usually included. Some sta-
tions will send "TO" before tbe address, but this also isn't really necessary. In the
transmission of the address, the name of the addressee is separated from the street

27
 LEARNING THE

address and the street address from the city of des tination by the procedure signal
AA (didahdidah) to avoid confusion. After the address and before the text you will
hear the procedure signal BT (dahdidididah) to separate the address from the sig-
nature. Again, at the end of the text you will hear 1IT, and following the signature
(some stations precede it by SIG, but this is not correct procedure) you will hear the
signal AR (didahdidahdit) , signifying the end of that message.
Quite frequently you will hear a station repeat a difficult word. This is usually
indicated by the sending of the question mark (dididahdahdidit) after the word,
then sending the word again. When the receiving station misses part of a message,
he will indicate which part he missed by sending the last word received, a question
mark, then the next word received, whereupon the sending station gives him the
part between; or if the receiving station knows he has missed only one word, he may
ask for WA (word after) or WB (word before) a certain word.
All amateurs may not always follow these ARRL s tandards, and in your listening
on the amateur bands you may find variations of this procedure. Listening outside
the amateur bands you will undoubtedly hear other procedures, although most
commercial message handling is now done by radioteletype, facsimile and other
methods not employing the International Morse Code. Your best bet to get code
practice is to listen on the amateur c.w. bands; there yo u will get not only practice
in copying, but you will develop tolerance for erratic sending habits of operators,
interference from other stations and from atmosphe rics, fading, and familiarity with
amateur customs and procedure which will make it easy for you to become one of
the fraternity when you get the ticket.

LOG-KEEPING
FCC requires nearly every radiocommunication station to keep a complete operat-
ing record, or log, including such data as times and dates of transmissions, stations

'I".=!
11-/,-(<
····-
~~·

(. : / 1'>1"'"'1f.ln
~
- ---· -- :: -· .......
m•
-~
3.,5' 5'll"I H'ii 3.5' Ai
....,,. '':"

Z!;O ' :.1#3 l l r · • - - ' l l

one• o-•4

• -t In
1: 0 {'/} " '1 D
'1 . I "
••••Tw 341 !>'7' '1 . 32 \Ju l . • ·-· /lPu ..,_ -
'I : ~
"
"'"Ill<' )(
'7"
U3 '>'I II '7 3.1 A3 100 111·0< V',{L ... A
v
-r~ -
·o .. vrc'lll'"/_ Iii es It! Al zc:o A J • I.I/
"
A•

:o 7r?4n )( 111.0 33'1 55''il '7: ?0

:2 )( 'A'7Vt.I il/Jh '.!Lj'I 7 . 3~ C:'- .-t- VA
''' .0
. '! (n
:3'1 LJL "
TI 1111.01 c;crn q . I?
" '""' ~

- _/ --..__...-
- --==--
contacted, message traffic handled, input power to the transmitter, frequency used,
and signature or "sine" of the operator in charge.
Log-keeping procedure differs with each class of communications service. A typi-
cal page from an amateur radio station log, prepared on the standard ARRL form,
is shown above. Being that of the amateur service, the example here shown is quite
free in style, yet it is illustrative of the form and data generally required.

28
RaJiolelegraph CODE
RADIO OPERATOR LICENSES
Except in the military services, and with certain additional exceptions for some
types of routine operations in railroad and aircraft radio, no one may operate a
radio transmitter without possessing the necessary government operator license.
The penalties for unlicensed operation are severe. Licenses arc issued in the U.S.
by the Federal Communications Commission, in two broad classes: amateur and
commercial. As implied in the names, a comniercial license permits its holder to
operate a radio station for hire, while an amateur license is usable only for experi-
mental communication "with a personal aim and without pecuniary interest."
Under the Communications Act of 1934, FCC may issue licenses only to U.S.
citizens. There are two recent exceptions. Aliens who hold aircraft pilot licenses
valid in the U.S. may be issued licenses for aircraft radio stations. The U.S. has
entered into reciprocal operating agreements with certain other countries, per-
mitting the operation of amateur s tations licensed by one of the parties in the
territory of the other. For every license an examination is required, varying in
scope according to the privileges conferred by the license. Licenses are normally
issued for a term of five years, and may he renewed upon application if the appli-
cant can show recent use of the license privileges.
An applicant for an amateur operator license must pass a code test of sending
and recei\•ing at.the rate of five or thirteen words per minute, depending upon the
class of license, and a written examination on radio rules and regulations as well as
basic theory and practice. These tests are taken at one of numerous FCC examining
centers, or by mail under the supervision of a licensed operator, again depending on
the class involved. For more complete information on amateur licenses, you may
write to the American Radio Relay League, Newington, Conn. 06111. Among other
aids, the League publishes a companion booklet, The Radio Amateur's License
Manual, which treats this subject in detail, including paraphrased questions and
answers for the examination and the complete text of the FCC amateur regulations.
Commercial radio ·operator licenses are issued in several classes, with a different
scope of authority for each. The First Class licenses carry the greatest privileges
and naturally have the most inclusive requirements; at the lower end of the scale,
in fact, the "licenses" are actually called "permits" or "authorizations" to indicate
their lesser scope. FCC commercial wtitten examinations are divided into elements,
thus:
Element I- Basic law
Element 2- Basic operating practice
Element 3- Basic radiotelephone
Element 4-Advanced radiotelephone
Element 5- Radiotelegraph operating practice
Element 6- Advanced radiotelegraph
Element 7- Aircraft radiotelegraph
Element 8- Ship radar techniques

Each license requires the passing of certain combinations of these elements, as

follows:
Radiotelephone:
Third Cass- Elements l, 2
Second Class- Elements 1, 2, 3
First Class- Elements 1, 2, 3, 4

19
 Radiotelegraph:
Third Class - Elements 1, 2, 5; 16-w.p.m. coded
groups, 20 w.p.m. plain language.
Second Class - Elements 1, 2, 5, 6; 16.w.p.m. coded
groups, 20 w.p.m. plain language.
First Class - Elements 1, 2, 5, 6; 2S.w.p.m. plain
language, 20 w.p.m. coded groups; service en·
dorsement on Second Class license.
In addition, there are several "restricted" classes of permits available in special
cases for limited purposes.

By writing to the Federal Communications Commission in Washington, D. C.,

you may learn which is the local office nearest you. Write the latter for data on
exact time and day of commercial examinations, and to make an appointment.
Simultaneously request the necessary application blanks so you can arrange for
notarization in advance. F.ach examination element requires between 1 and l~
hours for completion, so allow yourself time accordingly. If you fail certain elements
but pass others, you will automatically be issued a license of proper grade if the
passed elements entitle you to it.
CANADA
In Canada, amateurs are licensed by the Department of Communications,
Ottawa. A code speed of ten words per minute is required for the amateur certifi-
cate, fifteen for the advanced amateur certificate. There are also written and oral
examinations. Details may be obtained from Ottawa or from the regional offices in
Vancouver, Winnipeg, Toronto, Cite da Harve, P.Q., or Moncton, N.B.

CALL SIGNALS
Obviously every radio station needs a call signal to identify itself. In the case of
military s,tations, these are generally arbitrarily-devised "tactical" calls which give
no inkling of the location. The civil stations of the world, however, are assigned
calls in accordance with an alphabetical table set up by the international telecom-
munications conferences, and thus it is possible to identify the nationality of a
station by its call signal. "Blocks" of calls are made available to the various nations
in accordance with prearranged tables. Thus, for example, any call beginning with
W, Kor N is seen to be a call of the United States. In many cases an initial letter is
divided between two or more nations and it is therefore necessary to observe the
first two letters before determining the nationality. For example, if the first two
letters are XE, the station is Mexican, while if the first two letters are XZ, the
station is Burmese.
In the United States, whenever a three-letter call is heard (sometimes followed by
a number) it belongs to a land station. Ship stations have four.letter calls, al.
though such calls are also frequently used for broadcasting stations. Aircraft Sta·
tions have five-letter calls. The calls of amateur and experimental stations are made
up of one or two letters, a single figure, and a group of not more than three letters.

30
Code Practice
• Tone Sources for Practice
• A Code Instruction Table
• Practice Schedules

W HISTLING or "didahlng" is only a substitute for the high-pitched sound of

radiotelegraph code. Since a person beginning his code study without constant
supervision is not capable of properly manipulating a telegraph key-should not
touch it, in fact, until he thoroughly knows the code sounds-he can best learn
by the spoken didah method. Once he progresses to the point where he is ready
to learn how to send, he needs a tone source which can be keyed for sending
practice. Perhaps the best way is to have two people learn the code together and
send to each other by means of a buzrer..and-key outfit. An advantage of this system
is that it also develops sending ability, for the person doing the receiving will be
quick to criticize uneven or indistinct sending. H possible it is a good idea to obtain
the assistance of an experienced operator, so that you will learn how well-sent
characters should sound.
Components of simple oscillators may be obtained from local radio stores, or
perhaps from the "junk box" of a radio experimenter friend.

TONE SOURCES FOR PRACTICE

The simplest possible code-practice set consists of a key, buzzer and dry.cell
battery. The buzzer should be one generating a high-pitched tone, such as the E. F.
Johnson type 114-400. The assembly shown in the accompanying photograph and
Photograph (right) aod circuit arrangement (left) of a buzzer oode-practicc eet The headphonea
are oonnectecl acrose the coils of the buzzer with a fixed capacitor in aeries. The value of tbie
capacitor determines tho strength of the signal i11 the beadpbooee. If I.be value ahowo givee an
exceasively loud aig11al, it may be reduced to 500 pf. or 250 pf.

31
 LEARNING THE

diagram is slightly more elaborate, in that it includes a capacitor and pair of terminals
for headphones. Headphones give a little more realism to code practice and help to
shut out extraneous sounds that may be distracting. The headphone connection
and capacitor may be omitted, however, if they are not needed. The battery can
consist of two No. 6 (or other reasonably heavy.dut y) dry cells connected in series.
Alternatively, a 3-volt lantern battery can be used.
A better tone, more nearly identical to t.he audio beat note a radio operator reads,
is that produced by an audio oscillator. The battery.operated transistor audio os-
cillator shown on these pages produces enough volume for code practice in small
groups and is easy to construct. It consists of a transistor, a capacitor, a resistor, an
output transformer and speaker, and a dry-cell ballery, and is built on one side of a

Transistor audio oscillator ready for code prnctice. The

small speaker puts out enough volume for group practice.

3 X 4 X 5-inch aluminum box. A four-terminal tie point is used for mounting

C1, R 1, Qi, and for connecting the leads from 1'1. Special care must be taken when
soldering the transistor leads, as too much heat can ruin the transistor. Use a pair
of long-nose pliers to hold the lead being soldered, grasping the lead close to the
transistor body. The pliers will absorb most of the heat before it can reach the
transistor.
Practically any inexpensive transistor will be suitable for this circuit. The one
shown in the photograph is a 2N406. If this type is used, the lead closest to the red
dot (collector) on the body should be connected to one end (either one) of the
T,

R, ---+-lo,-~llE~=O}s. Circuit diagram of the code.

practice oscillator.
~.~~ BT1 - 9-volt hattcry; six l Jl:l.voh penlitc cells in series,
or 9-voh transistor rndio battery.
C1 - 0.01-,,f. disk ccrnmic capacitor.
LS1 - Loudspeaker, 2 71\ inches, permanent-magnet re.
placement type, 3.2-ohm voice coil (Quam
25AOi. Lafoycuc Hndio SK-65).
Qi - Transistor, 2N406 or similar inexpensive audio
1rt111Histor.
21'1406 R1 - Sec text.
BOTTOM VIEW T1 - Output. trnnsformcr, 12,000-ohm primary to 3.2-
ohm voice coil (Thordaraon 22548 or Stancor
A3831).

32
primary winding of T1• The other end of the primary winding goes to C1 and R1 as
shown in the circuit. The center transistor lead (base) should be connected to the junc-
tion of C1 and R1• The remaining lead (emitter) goes to the positive end of the battery.
The pitch of the audio tone can be lowered by changing Ri to 47,000 ohms, or
raised by using 100,000 ohms at R1.
The construction shown in the photographs does not have to be followed ex-
actly. Also, a larger speaker can be substituted; the 3~·inch size, which is available
at practically any radio parts store, will work equally well. If a different type of
transistor is used, make sure that it is one having PNP construction and that the
leads are connected as described above.

The speaker is mounted

directly above the output
transformer T1. At the right
of Ti is the two-terminal
strip (Millen 3 7302) for the
key connections. The re·
maining components are
mounted on the four-ter.
mioal tie point.

A CODE-INSTRUCTION TABLE
The preceding material has been written primarily for the individual who must
learn his code with little or no outside help. If a number of persons·wish to learn
the code as a group or develop speed after learning, and if a competent instructor
can be located, the best method of instruction is by means of a code table (page 34).
Any such table should be so wired as to permit the instructor to send to the
whole class, but by a little special wiring many other things are possible. In the one
shown here, for instance, each student can practice sending, independently and
to himself; yet the instructor, by means of the selector switch, can listen in on
each student in turn, can break in on him and correct his errors. Moreover, simply
by throwing a few switches, facing pairs of students may join in independent
two-way conversations, and each such pair may be monitored in turn by the
instructor-all on the one table and from the common oscillator. Bigger "nets"
can be switched at will, while other students at the same table continue practice
either singly or in pairs, all under control and supervision.
The instructor should sit at one end of the table, facing down its length, the stu-
dents arranged along each side. A center partition and cross.partitions make a sort
of "private office" of each operating position, each with its 'phones, key and switch.

33
 LEARNING THE

Wiring diagram of flexible multipoaition code-instruction table.

The oscillator is at, or handy to, the instructor's end of the table, his controls on a
low panel in front of him, running across the table.
At each student's position, a key and headset in s.eries are bridged across the line
carrying the continuously-running audio tone. The headsets (and keys) may be
paralleled by closing the interconnecting switches, each switch being associated
with the position of the same number. A tap from each position is taken off to
the multipoint switch (S) at the instructor's position so that the latter can also
place his headset and key in parallel with those at any of the ten positions.
When the instructor sends to the entire class all the small switches are closed,
connecting all positions in parallel. With all switches open each student can practice

A suggested form of construction for the code-instruction table. Dimensions may be varied
to suit individual needs. Legs may be made of 4 X 4-incb stock; top and side rails of 1-inch boards.
Appropriate bracing should be provided underneath.

34
sending by himself, and the instructor can listen to any student by setting the
selector switch, S, to the appropriate position. T his also puts the instructor in
parallel with the student at that position so that the instructor can "work" the
student.
Suppose now that students are to practice together in groups of two. Closing
S2 connects Positions 1 and 2; closing S4 connects 3 and 4; S6 connect§ S and
6, and so on. The odd-numbered switches would be open in this case. The instructor
can listen in on any group by setting the selector switch to either position in the
group, and again can break in on the work. Larger groups can easily be formed;
for instance, closing switches Nos. 2, 3 and 4 will connect Positions 1, 2, 3 and 4

.
together; closing S6 and S, will connect Positions 5, 6 and 7 together, and so on.
The number of positions can be extended indefinitely by following the same wiring
system. Separate tables, grouping perhaps ten students to a table, can be used if the

~·~·~'··'::··

TABLE I
Freq. Ci.C2,Ca Ri.R2,Ra
(c.p.1.) (pf) (ohm&)
400 400 .68 meg.
600 400 .33 meg.
800 400 .22 meg.
1000 400 .39 me~.

The code-practice oscillator for instructing large group&

is built on a 2 X S X 7-inch aluminum cha•~is. i\11
+ wirin" is insulated from the chna&i&. Tho volume control
is centered between S1 and S2. Li, tho filter choke. ia
located to the rear of the 35W4.
room is too small to accommodate a single table for a large class. In such a case the
instructor could have a central position with a selector switch for each table.
The interconnecting switches, Si. ~. etc., may be ten-cent-store s.p.s.t. knife
switches and the instructor's selector switch a wafer-type unit. The latter can be
obtained in the single-pole type with as many as 23 contacts. Since no special
precautions need be taken with respect to insulation or voltage drop, probably
the most economical wiring job can be done by using ordinary bell wire. In cases
where the students bring their own headsets it would be advisable to mount a tip-
jack assembly at each position to facilitate connection.
The code-practice oscillator described earlier in this chapter is suitable only for
t,fo or three sets of 'phones; it is, therefore, necessary to build a special type of
oscillator for use with the code table. A circuit diagram suitable for handling up
to thirty or forty headsets is shown on the following page. Operating directly
from the 115-volt line, it consists of a 12BA6 oscillator followed by a SOCS power
amplifier and 35W4 rectifier.
The pitch of the tone is determined by the constants of the RC circuit, R1RiRa-
C1 C2C3. A tone of approximately 800 cycles is obtained wi th the values shown in
the schematic of the unit. Table I lists values of capacitance and resistance that
should be used if a tone in the 400- to 1000-cycle range is desired.
When wiring the output transformer, T1, into the SOCS circuit, employ taps

35
 LEARNING THE
tXCtPT AS I NDI CATED• OtCI MAI. VALUES Of s,
CAPAC.ITANCE ARE IN MICROFA~A0$ ( )Jf. )~
~------. . . .a"'C:i-- - -- ---Q
OTHE RS ARE 1• PICOFA RAOS (p f.ORppfJ;
Rt'51STA NC£S AR E IN Oto! MS; K • 1000.
Il..\.11:1J-6------
~ OUTPUT
----- ---oo
33K

T1 =
RED

•
129A6

_ _
L1_
+ 120V.

Circuit diagram of a oode·practice oscilla tor suitable for instructing large groups. Except ao
indicated, fixed resistors are ~ watt. Capacitors wi th polarity shown are electrolytic; 0.1.,.£.
capacit ors are tubular paper; 0.01.,.r. capacitors are disk ceramic; others may be eithe r ceramic
or mica.
-
Ci. C2, c~ Sec text.
L1 - Universal-type filter choke: approximate ratings (not critical), 4 to 10 henry•, 50 ma.
R1, Ro, Ra - ~e text.
R, - 0.5 megohm control, audio taper.
Si, S2 - S.p s.t. toggle.
T1 - Universal.type adjustable-ratio 4-watt output transformer (S tancor A-31156 or equi va-
lent). One.h alf of primary winding used. Secondary connected for approximately 2 ohms.
that result in an approximate primary-to-secondary impedance ratio of 2,500 to
2 ohms. This impedance ratio results in adequate audio output for 30 or more sets
of low·impedance 'phones and prevents noticeable Ouctuations in audio volume
as the number of active headsets is varied over a wide range.
For eliminating danger of electrical shock, the complete code-practice circuit
must be isolated from the metal chassis. The voltages to be expected at various points
in the circuit are shown on the schematic. The negative lead of the voltmeter must
be connected to the common negati ve bus (the nega tive side of one of the 4Q.µ f.
filter capacitors is a good place) rather than to the chassis during the voltage
measurements.

A bottom view of 12BA6.SOC5-35W4 code-practice oscillator. The output

transformer ie mo unted on the s ide wall of the chassis. Output terminal& and
a grommet for the line cord are located at the rear of the unit.

36
 The output switch, Si, enables the instructor to cut off t he tone from t he entire
class, and thus serves as a simple means of attracting attention when gro up work
or individual sending practice is being carried on.

AMATEUR CODE P RACTICE

To assist beginners to obtain amateur licenses and amateurs in upgrading them-
selves, and to encourage better code proficiency for all operators, the American
Radio Relay League conducts nightly code-practice transmissions from its head-
quarters station WlA W in Newington, Conn. Practice is transmitted three times
daily Monday through Friday, twice daily on Saturday and Sunday. The first prac-
tice transmission is at 9:00 A.M. EST/EDST (1400/1300 GMT); on Monday, Wed-
nesday and Friday speeds are 5, 7~, 10, 13, 20 and 25 wpm; on Tuesday and Thurs·
days speeds are 35, 30, 25, 20 and 15 wpm, both in the order stated. The second
transmission is at 7:30 r .M. EST/EDST (0030 GMT the following day or 2330
G~IT the same day t) at speeds of 10, 13 and 15 wpm every day. The third trans-
mission is at 9:30 P. ) I. EST/ EDST (0230/0130 GMT the following day 1); on Mon-
day, Wednesday and Friday, speeds are 35, 30, 25, 20 and 15 wpm; on Sur1day,
Tuesday, Thursday and Saturday, speeds are 5, 7.11, 10, 13, 20 and 25 wpm. The
transmissions are simultaneous on 1805, 3580, 7080, 14080, 21,080, 28,080, 50,080
and 145,588 kHz.

COMMERCIAL PRESS SCHEDULES FOR PRACTICE

Students of code wishing to increase their copying abilities can make valuable use
of transmissions by commercial and military stations at various speeds. A list of a
few good sources of practice is here given. Students making use of these and other
transmissions are reminded that addressed information may not be divulged e:uept
to the addressee, and the Communications Act provides severe penalties for violators.
A more complete list is available frorn ARRL Hq. Send self-addressed stamped en-
velope. Do not use such transmissions fo r anything but code practice. ·
Since these schedules are subject to change, please consult QST for reliable up-to-
date information.

Time Frezuency
(GMT) Call Origin (-Hz) Speed Schedule

0300 WSL New York 4343, 6418 25 Daily

1335 WAX Florida 8526 16-25 Daily
1605 WOE Florida 8486 16- 25 Daily
0130 NAV Wash., D. C. 2025, 4015 20 Sun.
7301, 14385
0130 WAR Wash., D. C. 3347, 5217 15-20 Tue.
0430 6997.5, 14405 25
20994
1800 AIR Wash., D. C. 4873.5, 7441.5 15 Wed. &
0200 13995 Thur.
1800 AG4FL Kansas 7305.5 15 Wed.
0200 AG4FL Kansas 4591.5 15 Thur.
I Much amateur work is conducted in terms of Greenwich Mean T ime (GMT). T his is a 24-hour clock
system in universal use, in which 0000 (or 2·100) represents midnight and 1200 is noon. Persons in the
Central Standard time ~one are six hours behi nd GMT. For example, 0100 GMT Tuesday would be
1900 (7:00 1•.M.) CST Monday. EST is five hours behind GMT, MST seven, PST eight. "Daylight
saving" time is one hour fa.ster in each case.

37
 Class Instruction
• Exercises in Receiving and Sending

tE material in this book has been prepared as a text for the individual student,
principally for home-study purposes. This appended section is to explain briefly the
classroom technique necessary for code instruction and to present a suggested set
of lessons that a class may follow.
The classroom student should be taught in terms of sound at all times. While he
should understanll the use of the terms dit and dah, they need not be useu in learning
letter sounds; the actual code sound of the letter in his headphones should be the
student's first conception. It is obvious that only a reasonably-proficient operator
should be allowed to teach; students will acquire any improper habits of a poor
operator/ instructor-which, once learned, will prove extremely resistant to change.
A class in code should have the equivalent of the code-training table described in
the chapter on "Code Practice," with one operating position for each student up to
a total of 20, the maximum which can be taught efficiently by one instructor. Later
in the course a code tape machine, or a communications receiver to tune in slow-
speed transmissions, will be found quite helpful since while one is in use the in-
structor may make the rounds of the class, offering individual help.
The first code sounds should be formed at a speed of approximately 15 words per
minute, with reasonably large spaces between letters to make the over-all total about
5 words per minute. By forming characters at a rapid rate, they are more likely to be
learned as complete sounds instead of combinations of dits and dahs. As the class
progresses, spaces between words can be shortened to increase the over-all speed.
The speed of transmission may be estimated by counting the total number of letters
sent in one minute and dividing by 5.
No certain number of hours has been specified for the course. Instructors may
take up a new lesson when approximately four-fifths of the class can copy or trans-
mit perfectly 50 consecutive letters of the lesson under study. Some lessons may be
completed in an hour's class time; others may require five or six hours.

LESSONS IN RECEIVING
Ten lesson groups follow, each containing adequate practice material for class-
room use. It will be noted that the order of learning letter sounds is somewhat
different here than in the opening chapter. Organized class training under a compe-
tent instructor avoids certain home-study difficulties which are best met by prese·nta-
tion of letter sounds beginning with 5 and 0. The classroom system presents sci-
entifically to the new man an interesting approach to learning the code: by taking
up most-used letters first, many words and even sentences can be utilized right
from the first lesson, so the student can see his progress from the start. The value of
code groups has not been neglected, however; the last exercise in each lesson pre-
sents adequate coded material. The student's progress can best be graded by means
of these code groups.

38
 In each lesson the procedure should be: (1) review the work of the previous
lesson; (2) send the new characters slowly in no particular order, to accustom the
students to the sound of each; at first, name the English character while its code.
sound is being sent; (3) send the characters of the previous lesson indiscriminately
mixed with the new ones, slowly and in no particular order; (4) send the characters
of both lessons in the form of words and sentences, gradually increasing their
lengths.

LESSON ONE •• •
The instructor should spend a preliminary period lecturing on the introductory
material in the first chapter of this book, including the timing and rhythm exercises,
but using the tone source along with didah and whistling.

LESSON Two • • •
Characters used: E T 0 A N I S
Practice material:
AN NO ON IT TO so
IS OAT TAN TEN ONE ANT
NIT TOT NET TIE ETA TIN
TOE SON SIN SIT SET ASS
SEA INTO TENT TONE ANON NINE
NEAT TOTE TOOT NONE TEAT TINT
ETON SEAT EASE SENT TAINT STINT
EATEN STONE TOAST TEASE SNOOT SENSE
a) SIN NO ONE f) IT IS NOT TEA
b) IT SENSES TASTE g) ETA IS A NOTE
c) NONE IS SENT h) NO SENSE IN EASE
d) SNOOTS EATS OATS i) STAINS TINT A SEA
e) NO SEASON IS SET j) ASSES NET NO SENSE
k) SONNIE SAT ON A TIN SEAT
1) IT TOASTS IN TEN TASTES
m) AN OASIS IS NEAT EASE
n) TIE A NINETEEN TON STONE TO A TENT
o) TOAST IS EATEN AT ETON
p) STAINS TAINT ONES NEATNESS
q) TOTE A STONE TO TENNESSEE
ETO ANI SIN AOT ESI
SAOT NITN SOOE IATE ANOE
SINES TO EIS NAOTE ONTIS ESTAO
ENTOIS TO OSEI OENTST ANS ENO NANOSE

LESSON THREE • • •
New characters used: R H D U C M L
Practice material:
RAT RUN RUT RICE RUSH RASH RADIO

39
 LEARNING THE

HAD HUM HAM HAND HELM HULL HOUSE

URN USE NUT UHIT UNDO URAL UNDER
DAD DAM DON DUDE DICE DOLT DUNCE
COT COD CAM CHIT CORD CURT CHORD
MAN MAD MET MOSS MICE MODE MODEL
LAD LET LID LEAD LORE LUST LURID

REDUCE RADIUS RANCID RADICAL MARCONI

HALTER HUDDLE HORROR HUMIDOR ULTIMATE
ULSTER tlNLACE URCHIN UNARMED STATION
DOLLAR DISCUS DANCER DUCTILE RESISTOR
COLLAR CRUISE CUDDLE COLLIER ANTENNA
MUDDLE MUfu\flJR MOTHER MIRACLE AERIAL
LEADER LANCER LUSTRE LECTURE COIL
TRANSMIITER CHROMOSOME MEDITERRANEAN
RADIATION DASTARDLINESS NECESSITARIANISM
OCCLUDED CHROMIUM OMNISCIENCE
ANTHRACITE EDUCATIONAL RESIDENTIAL
AMERICAN THERMITE SANITARIUM

a) HAMS ARE ACTORS TOO.

h) MIRACLES SELDOM OGCUR.
c) MUSIC HATH LOTS TO CHARM.
d) MAD CATS MURDER MICE.
e) SEND CODE AND SUCCEED.
f) SOME DANCERS ARE CRUDE.
g) HENS HATCH SMALL ROOSTERS.
h) MORSE CREATED THIS MIRACLE.
i) CURSES ON ALL HEARSES.
j) RURAL HOUSES ARE HUMID.
k) ANTHRACITE COAL IS HARD.
I) RESISTANCE IS MEASURED IN OHMS.
m) UNCLE SAM NEEDS US ALL.
n) THE SUN SHINES IN CONNECTICUT.
o) CODE CLASSES ARE LITILE TOIL.
p) CHARACTERS ARE DOTS AND DASHES.
q) CODE IS HEARD NOT SEEN.
r) MARCONI LECTURED ON CURRENT RADIATION.
s) INTO DEATH MARCHED THE TIIREE HUNDRED.
t) AMATEUR RADIO IS AS OLD AS THE RADIO ART.

URT HLU ADC CIM SLE

LTRH OAUD NICM SRHL MAUE
HSDNM RHUAC ODNCL SICDO IUHER
TCODME ADHRHU CNDUTR SLMIRU LSEIRC

40
r

RaJiolefegrap/i CODE
LESSON FOUR • • •
New d1aracters used: P F W Y G B
Practice material:
FOW PEP PIG PAGE PYRE PITY POPPY PUFFY
POP FRY FIG FROG FLOW FILE FABLE FOGGY
WEB WON WHY WHIG WOLF WING WHIFF WEIGH
' YIP YOU YEG YOWL YELP YAWN YOUNG YACHT
GOB GYP GIN GLOW GASP pRUB GABLE GLOBE
BOY BEG BIT BANG BEEF BLOB BADGE BEFOG
PACIFY PEBBLE PHLEGM PEPPERY AFFLICT
FEEBLE FIDGET FLINTY FAIRWAY BABYLON
WAFFLE WEAPON WINDOW WAYWARD CABBAGE
DEPOSITORY ELECTROTYPE FISHWIFE
PYGMY GUYWIRE TAPE
ALPHABET PRACTICE MESSAGE
SUPERHET GEAR SIGNAL
CAPACITY FLYWHEEL FILTER
CRYSTAL PURPOSE STABILITY
FACTOR BEATNOTE AMPLIFIER
a) EPIGRAt'1S SAY MUCH IN FEW WORDS.
h) WHAT IS WORTH DOING IS WORTH DOING WELL.
c) FORTUNE BEFRIENDS THE BOLD.
d) ILL BLOWS THE WIND WHICH PROFITS NOBODY.
e) WINGS FLY FAST.
f) WHIFFS OF FOG PACIFY FEEBLE AFFLICTIONS.
g) BOYS YELP WHEN BIT BY. DOGS.
h) A PUFFY BLIMP IS A Pµ'PERY FISHWIFE.
i) TETRODE AMPLIFIERS RELAY POWERFUL SIGNALS.
j) RUBBER WHEELS AFFECT RIDING COMFORT.
k) PUT YOUR FLYWHEEL JN GEAR.
I) GASP AND YOWL BUT BUY DEFENSE BONDS.
m) WHOOP IT UP BEFORE DYING.
n) LIGHT GLOBES GLOW WITH POWER.
o) TIGHTEN CAP BEFORE TIPPING.
p) THE BADGE OF COURAGE IS WON BY PLUGGING.
q) ALWAYS COPY BEHIND IF POSSIBLE.
r) BICYCLE RIDING CAUSES PUFFING.
s) COPYING BY TYPEWRITER JS GOOD PRACTICE.
t) PYGMY GUYWIRES ~UT STRENGTH INTO POLES.
HFM ODW AUY NCG IMB
FHEP PRTF YUOW WDAY BMNG
.,
41
 LEARNING THE

BCA.DF GUOHP YDTRB WHEMG FRSCY

PSDGCB FUIYMW AWPFLY GHORBG WRNFEY

LESSON FIVE • • •
New characters used: J K QX Z V
Practice material:
JET JUNK JAVA JERK JACOB JAPAN JELLY
ASK KINK KEEP KALE KHAKI KNACK KNAVE
QUO QUIT AQUA QUIZ QUICK QUAIL QUEEN
JIM OXEN AXLE XRAY EXACT AXIOM OXIDE
zoo ZERO JA72 ZING AZURE CRAZY ZEBRA
IVY VINE HAVE VOID VIVID AVAIL EVERY
JACKAL JERKIN JOVIAL JONQUIL ZENITH
KIBITZ KINGLY KAISER KICKOFF EMBEZZLE
QUARTZ QUAVER QUORUM ACQUIRE PULVERIZE
PICKAX EXCUSE XERXES EXPLAIN GRAZE
ZEPHYR ZIGZAG ZOUNDS BUZZARD OXYGEN
a) JACOB ASKED THE KING FOR QUARTZ OXIDE.
b) QUICK AXIOMS AVOID UNJUST TAXES.
c} QUIZZES QUICKEN THE REFLEXES.
d) JOVIAL KIBITZERS ARE VERY OBNOXIOUS.
e) JAPANS JUNK QUITS QUICKLY.
f} EVERY QUEEN KEEPS JONQUIL.5.
g} HEXAGONAL KNUCKLES HAVE CRAZY KINKS.
h) XERXES EXPLAINED THE QUICK VICTORY.
i) VELVET QUAIL GRAZE IN ZOOS.
j) KINGLY BUZZARDS QUAVER IN AZURE SKIES.

JPR SNQV QYLGV ZKJFBG

FKH JAHK XWOFZ RHKPVO
DQW ZGVM KPCAJ QLFPDQ
XYU YXUT BZLNX XMZNJU
ZGM ZWDO IVKQW YKWZBG
BVC KBLI YJCTV HSIXJA
QPX JFRE EQSXR MCVXZQ
Beginning with the next lesson, instructors may make good use of newspaper
and other text for practice material.

LESSON Six • .•
New characters used: I 2 3 4 5
Practice material:
215 3242 34125 244521

42
 431 2151 42153 352142
234 4531 33214 332312
551 5324 24115 545134
422 1543 53425 152342
342 3154 14523 453152
351 2231 21435 514324

AEl CP2X 3Z4BJ 123VJQ

3T5 14B3 XYZ51 W3X5AM
420 F3G4 3KP14 435PT1
N43 EARS RY311 AWUOZ
2MC 424V 14V4U 2UV4JB
HTS DlJ3 L3VJ4 XU4PY1
425 412V 21JJ2 5SH32W

LESSON SEVEN • • •
New characters used: 6 7 8 9 0
Practice material:
867 9768 77689 967760
906 0069 90870 806970
760 7987 68096 688979
896 0869 86970 087068
707 8776 09906 786096
998 8609 87780 779680
807 7068 87669 696087

196 3874 62840 647359

245 1928 17395 821073
837 5603 61723 489625
604 7495 89450 107446
932 1620 42417 829310
758 4835 38950 593758
103 2071 59636 621054

C3B7 Q78G F3M0J Y9UBC AlB3C2 9105P4

JW19 HSSH 132R5 WJV41 4D6F5E Q6U3V4
47BE 4CY3 9L4PV 00X23 9HG7JI SM3801
X6Z2 ZK67 K176B PQ954 8L0KM3 6Q7GT

LESSON EIGHT • • •
At the conclusion of the seventh lesson, most students should be able to recog.
nire letters and numerals iinmediately when heard. If not, more practice is indicated,
especially on the characters causing trouble. It will be helpful to send some letters
frequently confusing to the beginner such as G-W, F-L, 0-S, P-X, Y-Q.
GOWN FILM: ARK JAW OASIS APEX QUERY
WAGER LEAFLET WORKER BLOSSOM EXPERT

43
 LEARNING THE

The following sentences employ every letter of the alphabet:

a) THE EXPLORER WAS FROZEN IN HIS BIG KAYAK JUST AFTER MAKING
QUEER DISCOVERIES.
b) WHE;"\IEVER THE BIG BLACK FOX JUMPED THE SQUIRREL GAZED
VERY SUSPICIOUSLY.
c) MY HELP SQUEEZED IN AND JOINED THE WEAVERS AGAIN BEFORE
SIX O'CLOCK.
d) WE DISLIKE TO EXCHANGE JOB LOTS OF SIZES VARYlNG FROM A
QUARTER UP.
e) A QUART JAR OF OIL MIXED WITH GOOD ZINC OXIDE MAKES A VERY
BHIGHT PAINT.
f) WHILE MAKING DEEP EXCAVATIONS WE FO UND SOME QUAINT
BRONZE JEWELRY.
g) SlX JAVELINS THROWN BY THE QUICK SAVAGES WHIZZED FORTY
PACES BEYOND THE MAHK.
h) TII E PUBLIC WAS AMAZED TO VIEW THE QUICK ESS AND DEXTERITY
OF THE JUGGLER.
i) WE QUICKLY SEIZED THE BLACK AXLE AND JUST SAVED IT FROM
GOING PAST HIM.
j) THE JOB REQUIRES EXTRA PLUCK ANO ZEAL FROM EVERY YOUNG
WACE EARNER.

LESSON NINE • • •

int~rrogation, double dash (BT), end

New characters used: Comma, period,
of message (AR), end of communica tion (VA), wait (AS), fraction bar
(UN).
Practice material:
Continue practice of plain text, now including pu nctuation. It is not necessary
to conduct instruction in mor1; rare punctuation until the student progresses
somewhat further. Also, send the students some messages in standard form, using
all procedure signals necessary in the process (see chapter on operating). Send
some with texts in the form of cipher groups as well.

L ESSON T EN • • •

To acquain t the student with receiving conditions as he will find them in actual
radio communication, play a couple of broadcast receivers while giving the students
practice, or have some of the class engage in audible conversation.
If communications receivers are available, tune in code signals that can be
heard while practice is going on. Dec rease volume of the practice-tone source.
Vary tone and stability of the source. Use commercial press schedule transmissions
for code practice.

44
f<aJiot~lgrap~ CODE

LESSONS IN SENDING
The chapter on "Learning to Send" should be thoroughly reread at this point.
It ·will serve as an outline of lesson material, additional practice exercises being given
herewith. When taking up new material, the instructor should first send the char.
acters he wishes his students to learn, and then have them repeat individually after
him. Characters can then be combined to form words, sentences and code groups for
additional practice. Here again, the instructor should thoroughly review a preceding
lesson before attempting new material. While learning to send, the student's speed
of transmission should be kept low until he demonstrates ability to send all the
characters correctly.

L ESSON ONE • • •

This period should be devoted to learning proper posture, gl'ip of key, hand and
wrist movements, and exercises in sending multiple dits and dabs, as outlined in
the sending chapter.

LESSON Two .. .
Characters used: E I S H 5 T M 0 0
Exercises:
SEE MOST SHEET MISSES HEMOTH
HOT HISS THEME THESIS HOSTESS
SIT EMIT MOIST ESTEEM. SOMETIMES
HOE TOSS HOSTE SMOOTH MOTTOES
OHM THEM SHOOT SETfEE SIMMER
505 0550 50505 550050 505050
a) SEE ME HOME SOME TIME.
b) HIS TEETH SEEM A MESS.
c) MISS TllIS SHOT.
d) 1l:IIS rs HlS HOME TOO.
e) I SEEM TO OMIT IT SOMETIMES.
f) OTTO MEET HIM THIS TIME.
g) HE OMITS THE ITEMS HE MISSES.
h) THE HOE HIT ME THIS TIME.
i) THIS IS OTlS SHOE.
j) HE HIT HIS HOSTESS 50 TIME.5.

LESSON THREE • • •
New characters used: A R L W J 1 P
Exercises:
LIL WILI LAIR PLATE HAWSER PALATE
OWL PASS LAME SPELL ATTIRE RAPIER

45
 LEARNING THE

LAW MAIL PAIL ALER.T HAWAII WAllOP

APT REEL PEAR JEWEL ASHORE RF.51STOR
PAR TRIP RAIL REPEL ARTIST LASSOF.5
JAP LAST WASH RALPH JESTER JEEPERS
501 JOWL TRIAL RATHER JEWISH JARMINE
JIM 5105 50HJ1 515010 PAllOR 05100
a) RALPH PASS THE PLATE.
b) ALERT HAWAll RF.5ISTS JAPS.
c) THE LAW REPELS LAME JESTERS.
d) HE WILL LET LIL SPELL RESISTOR.
e) REAL AERIALS ARE JEWELS.
f} JEWISH HATS ARE APT ATTIRE.
g) RATHER PALE PAllOR APPEARS AT HIS JOWL.
h) HAWSER REELS WASH ASHORE.
i) PHILIP WALLOPS THE ARTISTS JAW.

LESSON FOUR • . •
New characters wed: U F 2 V 3 4
Exercises:
AVE FIVE HUMUS MUSEUM SITUATE
EVE FUSE STOVE FERVOR ISTHMUS
SUE FIFE SHAFT RAFFLE FAVOR
IOU VILLE UNFIT FAMOUS FEVER
OFF JAVA SIEVE VELLUM SHOUT
FLU SURE RUFUS VERSUS FRUIT
VIA OVUM PUFFS FURROW VOLUME
234 4132 50312 154302 123450
a) FAMOUS FRUITS PUT FLAVOR INTO LIFE.
b) SUE SURE HAS FLUE.
c) EVE MUST VOTE VIA RUFUS.
d) ASSUME THE STATUS OF SOVIET RUSSIA.
e) AUTOISTS MOUNT VAST SUMMITS.
f) LET US VETO THE ISSUE OF UTAH.
g) FROM HUMUS ISSUES SCUM AND MUSS.
h) l\1UFFLE THE SHOUTS FROM JAVA.
i) PURSUE THAT AUTO SOUTH.
j) oun SUITS ARE SURE FAMOUS.

LESSON FIVE • • •
New characters used: N D B 6 8 9 X
Exercises:
BOX 698 OXEN OXIDE 10964 DEXTER

46
.!

RaJiolt1fegraph CODE
NED BOND 6289 BANAL BUBBLE EXPAND
DEN NEXT DUMB DEBUT DIDDLE 401523
BUS DRAB DIXIE ANNEX BINDER ABANDON
AXE EXAM EXTRA NINTH DINNER BENEATH
BID NEED BUXOM NOBLE BAXTER DENTIST
SIX BURN BOUND EDITION DEXTRIN AMBITION

a) ABANDON BURNED OXEN FOR DEAD.

b) ONE MAN DID NOT BET.
c) BAD ADDITION MADE NED DUMB.
d) EXTRA BOXES ARE NEEDED IN MADISON.
e) BOBS AMBITION MADE HIM BANAL.
f) DON'T MENTION DRAB SUBJECTS AT DINNER.
g) SEND NO NOTES ABOUT DISUNITED NATIONS.
h) EXPANDED BASES NEED EXTRA MEN.
i) INSANE INDIANS BEHEAD BUXOM DAMES.

LESSON Six ..•

New characters used: G QZ 7 K C Y
Exercises:
GUY QUAY GOOFY GALLEY KNUCKLE
COG QUIZ QUICK QUARTZ OXYGEN
QRA AGED CRAZY KIBITZ JONQUIL
DIZ ZERO KNACK KINGLY EXCUSE
KIN KICK CHECK CACKLE 13579
KEY CODE YACHT PACIFY GAZEll.E
COY COPY QUACK 654720 73737
EKE 8714 96472 ZONITE QUIRKS
719 1357 PYGMY KAZOO COCKY

a) GOOFY PYGMY COGITATES QUIZZICALLY.

b) JONQUILS GLORIFY KINGLY PACIFIC YACHTS.
c) QUACKS CAN'T COPY CRAZY CODE GROUPS.
d) KIBITZERS EXCUSE MY KNACK OF CACKLING.
e) INQUIRING SCIENTISTS CHECK OXYGEN MASKS.
f) PSYCHIC CRYSTAL GAZERS EKE CRAZY QUIRKS.
g) AGED CYGNET HECKLES YOUNG GAZELLE.
h) DIZZY QUIZZES QUICKLY GYRATE MINDS.
i) GALLEY COOK SCRUBS DECKS WITH ZONITE.

At this point the instructor should conduct a general review of Lessons One
through Six, including: additional practice in sending characters causing trouble to
particular student; sending of plain text by students, instructor to comment on
quality; sending of coded groups by students, instructor likewise to comment.

47
 LESSON SEVEN • • •
New characters used: Common punctuation marks and procedure signals
learned in a comparable receiving lesson.
Exercises:
In addition to sending of plain text with elementary punctuation included.
students should send some messages in standard form, using all the necessary pro·
cedure signals; instructor to listen and comment, showing the correct method if
any errors occur.

LESSON EIGHT • • •
Instruction from this point may take the form of lectures and exercises based on
the "advanced" chapters of this booklet, covering high-speed operation, typewriter
copy, "bug" sending, general operating data, etc.

S ELECTIONS from the following text will be useful as practice material

in tests for accuracy of copy. Speed of transmission should be somewhat
below the average of the class, since this is exceedingly difficult text:
SENTIENT ENTENTE UTIER TRANSCONDUCTANCE EVASIVE JUJUTSU
KHANATE QUOIT OINTMENT MENTION ONION ONTOGENY REENTER
FAFNIR IRITIS TM ES IS CENTENNIAL SENTIMENT SEDIMENT
MENDACIOUS OUSTER STERLING LINGERIE AERIAL ALUMINUM
NUMB TOMFOOLERY ERRONEOUSNESS EfESIAN JANISSARY
JINRIKISHA SHAH NIFLHEIM NUMBERED ZENANA NATANT
TANTAMOUNT ANTECEDE EDELWEISS XANTHIPPE PEPWERMINT
MISTRESSSHIP TETEATETE DEBILITATE PUNXSUTAWNEY MUTAUL
ZIGZAG YTTERBIUM MAMMA ENSIFORM XYST MNEMONIC ENFEOFF
BREVEf XYLYLE.NE TSEfSE BREE SHIRR ATAXIA HESSIAN
ATTESTATION OSSEOUS TATARIAN UITLANDER WHEEZE
CHLOROPHYLL DEVISEE MISSISSIPPI HOMONYM JINNEE ICHNEUMON
ZOOPHYTE LYDITE NAIVETE PYJAMA REREDOS QUEUE VIVIVOCE
GEISHA SKOVVEIEN ONOMATOPOEIA ULULATE YWAINE TIRESIAS
323438 SCHEHERAZADE ISIS FORESHEET XIPHOIDIAN MNEMOSYNE
TANTALUM UMLAUT AUTUMN MNEM:ONICS ICHTHYOPHAGOUS
NICTITATING NIHILISM TEUCRI ISEULT TENNESSEE JEREED
ORIENTATE JEQUIRITY SIESTA ARIES SIMOOM SIRENIAN APPANAGE
PATENTEE YTTRIA LAITY UDOMETER ERRANT VITEBSK ANTEATER
AORTA BACCARAT DEIFY COOPERAGE FANFARONADE TIENTSIN
GENRE HAWAIIAN QUARTERN .KANAKA KAYAK LIGNIN NITER
DROHOBYCZ VERISIMILITUDE WAPITI VALLETI'A CACATECAS
7M3432 LAUTIASAARI ENZYME MELLIFLUENCE BYSSUS VALUVULAR

48
fl'IUNT ED tH U. l . A.
ftUMP'ORO ... ,_, • •
CONCORO. N . H.
 l!!l!l I lii!il lffiil I llBI Ell i ~ I 19 I ~ I C3 I CE3l

Cit."

Q
0 >

.., 0 0

l phases of this appealing hobby Is cove r e d in ARRL publications.

Whether novice or old-time amate ur, student or e ngineer, League publications
will h e lp you to ke e p abreast of th e times in th e ever-expanding field of electronics.

THE RADIO AMATEUR'S H A ND B OOK A CO URSE IN RAD IO FUNDAMENTA L S

lnternatlonelly r•co0nrz..,. unlvernlly consulted. The A new book written to stand by Itself. Twenty .slK chapters
all.purPQse voh.1m• of rod lo. Packed with Information ua•ful present the etectr1ce1 end electron le prfncfplol that are ba sic
to the amateur and professional ollke. Written In a clear, to under'stand lng radio circuit operation. S3.00
concise mennor. Contains hund,.octs o r photos. dleorams.
charts and taoi os. S6.00 T H E RA DIO AMATEUR ' S LICEN SE MANUAL
Study guide and reference book. P oints the wey toward tho
TUNE IN THE WO RLD ••• WITH HAM RADIO coveted amateur llcenao. complete with typl col quest ions
The complete be-glnner•s p a c kage. Everything ne.cted to and answers to all of the FCC amateur' O)(•MS - Novice.
obta in a Novice llcense; Theory, rulet., how to assemble a Technician, Condltlonal. General. Advanced a nd Extra
station, ond opero tlno practices. With one.hour COde cassette
and free U . S . catl· dlstrlct wall mep. S7.00 Cle u . Continuously kept up to date. S 1.SO

S I NGLE SIDEBAND FO R THE RADIO AMA TEUR

HINT S ANO K IN KS AOlgost of the best artfctes from QST. Includes discussions of
No builder should be without this co11ect1on of practical Ideas theory and pracllcot how. 10. bullef. lt descript ions of equf p .
for the workshop ond s tation. Gatherlltd together from the ment. Covers reception ond tr'ansmlsslon. S3.00
" Hints and Kinks., column of Q ST . S2.00
ARRL HAM RADIO OP ERAT ING GUIDE ARRL E LECTRONIC S DATA BOOK
W r'ltten for the amateur who prides h lmself on oood I ncl udes data on radio fre-Quency clrcult1, fllter design. L, c.
OPer'atlno pr'ocedures. A ready r'efe,.ence source and guide to end R netwo r ks, antennas and feed systems. A cato lOO of
Oood ope,.a ttno pr'actrces. Ideal for the a mateur who wishes solld· stat e clrc-ults e nd much more. This na. paoe reference
to brush up on operating proce-dur9'S and who wishes Is o useful addition to the amateur·•s technical Ubrary. M.00
Information on all f a cets Of o meteu,. opera ting. $4.00
SPECIA LIZED COMMUNICATION S
T HE ARR L ANTENNA B OOK TECHN IQUE S
Theoretical ••planatlon and complete Instructions for
bulldlno dlffer'ent types of antennas for amateur work. Seven chapters cover the more esoteric: tor ms of omoteur
Slmple doublets. muuretement •rr•ys. moblle tYP••· radio: ATV, SSTV, FAX, RTTY, Satolflte Communications,
rotaries. tono wires. rhombic• oner others. Tranam1u1on and octvanc&d communica tion techniques . $3.00
lln es are e>eheua tlvely dl sc uuec1. Prot u1e1y Illus trated. $4 .00
UNDERSTANDING AMATEUR RADI O
LEARNING THE RADIOTELEGRAPH COD E For the b eginner. e>Cplolns In s i mple language the
For those who find It dlfflcult to m e •ter the code. Oeslgneef to e l ementary p rfnclple• of 01ectron1c end radio circuits.
help the b-O lnner. Contains prectlc·e m a terlal for home •tudy Includes how. to. bulld· lt Information on low.c,ost receivers,
and classroom uae. ~ 1.50 tr•nsmltters and a ntennas. A 0
must" guide for the
n.-wcomer. M.00
THE RADIO AMATEUR 'S VHF MANUAL
A thorough treatment of vf'lf. Covers receiving end FM A N O REPEATERS FOR TH E RADIO
trensmlttlng prlnclples. techniques end construction, e nten . AMATEUR
no end teed sy•tem cteslgn. uhf ond microwaves. teat A complete treatment of tm and rep eoters. Includes chapters
equipment. fnterfe,.ence cou1ea and cur es. Empha sl• on receivers. tren1m1ttera. antennas .ta w•ll a s repeater
throughout I• on t r rod and t e1 t ed equ ipment ond practice. operotlon. Of gre& t valuo to tho fm buff aa w ol l 01 t o those
$4.00 lus t becoming l ntere••od In the subj ect . $4.00