Longjidin's Kg Lengkong to Bukit Lada

Using a PC with soundcard as a VLF receiver

Posted in Amateur Radio by longjidin on June 21, 2009

Using a PC with soundcard as a VLF receiver

This article describes how to use your PC as a receiver for
narrow-band signals in the VLF radio spectrum. If you are more interested
in the reception of VLF natural radio (which is a broadband audio
application).

Basic principle

The PC is used to convert the VLF signal into an audible signal

  • Soundcard runs at  a sample rate of 44100 or 48000 Hz.
  • Frequency is converted down to an audio frequency of 650Hz (or similar)
  • 650 Hz “Audio IF” is passed through a narrow-band filter (100Hz BW)
  • The amplified audio is sent to the soundcard’s D/A converter.

Required “hardware”

A PC with at least 266 MHz Pentium II, a soundcard (original Creative Labs
Soudblaster 16 has been tested, others work too, but some soundcards don’t..)

For a start, just connect some meters of wire as an antenna to the MIC input
of the soundcard and try to listen to a local QRM source (like a TV
set). If you can get the system (described below) to work, add a simple
LC network parallel to the input as VLF preselector. This will also protect
your soundcard if you connect a longer piece of wire. In my own tests I have
found that the system is very sensitive even with only passive components
(including 2 protection diodes on a 200 meter long wire).

Operation of Spectrum Lab

All settings required for a receiver for 17.2kHz are contained in the user
profile “SaqRcvr1.usr” which is contained in  Spectrum Lab’s installation
archive (since V1.65).

(Why “SaqRcvr” ? SAQ is the name of
Grimeton Radio, a historic radio
station in Sweden. More infos are/were available at
www.alexander.n.se in Swedish language,
very impressive !).

After starting Spectrum Lab, go to the menu “Quick settings”…”User defined
Menus”…”Import”. Select the file “SaqRcvr1.usr”, “GBRrcvr.usr” or
” VlfStns.usr”, then click “Ok, Load”. This will install a new item in the
Quick Settings menu which you can use later to recall these settings.

Note for “old-time users” of Spectrum Lab:
The “SAQrcvr1.usr” file was modified in 2006. It uses the FFT-based
filter which didn’t exist in earlier versions, making it much easier to operate.
The frequency conversion and filtering is now done entirely in the frequency
domain (inside the “Filter” runing in FFT mode), so the oscillator / mixer
/ IIR-filter is not required any longer. You will notice in the component
window that the oscillator- and mixer blocks are disabled. This is not an
error ! The oscillator + mixer blocks still exist for compatibility reasons,
but the preferred way to “shift frequencies” is the FFT-based filter
now.

Now switch to SpecLab’s “Circuit” window (Menu “View/Windows…Spectrum Lab
Components”). If everything is ok with the soundcard, you see something like
this :

(component window after loading the application “SAQ – Receiver #1″ )

If one of the function blocks is colored red, the program has detected a malfunction- maybe the PC is too slow (it did work with a 266MHz-P2) or the soundcard is not supported.

Connect a headphone to the soundcard’s output. You should hear a weak 650-Hz signal. Otherwise you must find the correct audio settings using the control program for your soundcard (some info is in SpecLab’s help system, but SpecLab cannot adjust the audio gain in the soundcard itself).

VFO Control

Note: This was more complicated in older versions. Now frequency conversion and filtering is done inside the FFT-filter; so the oscillator + mixer/multiplier are not used in this setup any longer)
To modify the VLF “RX-frequency”, move the red “VFO” marker on the frequency scale of the spectrum plot or waterfall display in the main window. Move the mouse across the frequency scale, and hold the left mouse button pressed to move the marker.
Note: The ‘connection’ of the red frequency marker (“diamond”) for the VFO frequency is a programmed feature of the “VLF-Receiver” profile. How this works internally is explained here in the SpecLab manual, but you don’t need to know it if you only want to use this feature.

Receiver Gain Control

The “SAQ receiver” application uses one of Spectrum Lab’s DSP blackboxes as automatic gain control. This is the green square with the questionmark in the circuit diagram. If necessary, the AGC can be configured as explained here. But for most applications the default setting should be ok.

If the audio output is too weak, though the soundcard volume control is at maximum, you can add more gain by software. If you click at the amplifier symbol in the circuit diagram (triangle just right to DSP blackbox), a small dialog opens where you can enter the gain, or connect the gain control to the vertical slider on the left side of the component window shown above.

If you don’t hear anything: To verify if a signal is getting in, activate the “Input Monitor” (click..). Increase the “Vmag” value of the oscilloscope until you can see a signal.

If you cannot hear any audio coming out of the soundcard, activate the “Signal Generator”  and connect it to the sound output (click on the function block and then start the sine generator). If you still can’t hear anything, check the Volume Control from the program “sndvol32.exe” which is part of Windows. To modify the “recording” settings (here: Sound IN), you must change the properties in the “Options” menu of sndvol32. (Sorry, Spectrum Lab cannot find the optimum settings itself. It can not access the soundcard’s “Mixer” like other nice programs ;-) .

Modifying the Filter characteristics

Depending on the bandwidth of the signal you are looking for, you may want to use different audio filter characteristics. A 50 Hz filter is often a good choice for medium-speed morse transmissions, while 500 Hz may be better for digital transmissions like RTTY and PSK. There is a number of “pre-configured” filters which you can load from disk files, but you can also create your own filters:

The very old way (before Spectrum Lab V1.7)
Click on the “Filter” block and switch to the tab “IIR-Design 2″. Load one of the “650-Hz-filter” designs which are part of the installation archive. The default “SAQ”-filter is a 4-stage IIR filter, each stage is a second order IIR-filter used as a bandpass. The gain, center frequency and bandwidth of each stage can be set individually. Modify a parameter in the filter designer table, then click “Calculate” to make the change effective. You may customize the filter for your own requirements, change the bandwidth, center frequencies or the number of stages used. But it’s not easy to spread the poles to get exactly the frequency response you want, so you should use the “IIR-Designer 3″ mentioned below, or jump right to the FFT-based filter which is the preferred method since SpecLab V2.6 .
The second method (a bit easier, since Spectrum Lab V1.7, tnx M0BMU):
Click on the “Filter” block and switch to the tab “IIR-Design 3″. Enter a filter center frequency and bandwidth of your own, then click “Apply”. More information about the types of narrow-band audio filters can be found here. You can also control the audio filter’s center frequency from a small slider on the frequency axis of the waterfall, quite like the VFO control.
The third method (much easier, since Spectrum Lab V2.6): Use the FFT-based filter !
Much easier to use than the “classic” FIR- and IIR-based filters is the FFT-based filter. There is an extra control tab for it in the filter control window. Select “bandpass” characteristics, the desired center frequency, and the filter bandwidth. An FFT size of 2048 or 4096 (within the filter !) is ok for this application. You can do even more with this filter: Let it do the downconversion too ! The function of the FFT-based filter is explained here .
If you don’t want to learn how all this works internally, but simply use it instead, load the preconfigured application “SAQrcvr1.usr” from the “Quick Settings” menu. It was modified in 2006 so it uses the FFT-based filter for “downconversion” and for narrow-band filtering at the same time. Move the red “diamond” on the main frequency scale with the mouse to tune this receiver to any frequency you like (not just 17.2 kHz for which the receiver was originally designed).

————————————————————————————————————————————————–

ALPHA beacon experiments

ALPHA is a Russion navigation system in the VLF band which you can receive with a simple loop antenna (at least in Europe). Some ALPHA frequencies are listed here . With a system of two orthogonal loop antennas and a stereo soundcard, the transmission cycle can be analysed with a preconfigured setup which is contained in Spectrum Lab’s installation archive : Load the application “AlphaTrg.usr” and see what happens on the screen (most likely, you will need to adjust the ‘contrast’ and ‘brightness’ controls for the waterfall because the input level from your VLF antenna will be different). What the “Triggered ALPHA-Beacon Monitor” does is:

  1. Wait for the begin of a new ALHA transmission cycle.
    For this purpose, the spectrogram runs in ‘triggered SWEEP mode‘. The trigger is connected to a pulse generator which fires once every 3.594 seconds (- or is it 3.6 seconds as mentioned somewhere on the internet ? ).
  2. Draw one spectrogram screen and then stop, adding the new spectra to the previously recorded ones : Every line of the waterfall screen has its own average-buffer.
  3. Back to step 1 to wait for the next cycle

If everything works ok, the noise-reducing effect of the averaging may look like this (left screenshot without, right screenshot with 10-fold averaging ) :

The pretrigger was set to 1 second for this test, so the trigger pulse is visible on the blue amplitude bar. The VLF RDF antenna was deliberately placed in a noisy environment (indoors), so the ALPHA pulses were barely audible in the noise. The waterfall ‘contrast’ was set to a high value; the same settings were used for both screenshots.

How does it work ?

Because the ALPHA-beeps will always appear on the same screen positions, the average-buffers will slowly fill up with each new scan. The noise (if randomly distributed) will seem to get weaker with each new scan. For example, if there was a random 1-millivolt “beep” in one sweep, it will appear like a 0.1 mV signal after ten sweeps are averaged. After 1000 averages, 1 mV will be divided down to 1 uV. Ok, what else can you do with this ?

Of course, this principle can be used for all kinds of weak but periodic tone signals – for example, for EME-testing purposes (Earth-Moon-Earth). If several hundred VHF-”pings” were sent to the moon and the echo received with a small yagi antenna, it is possible to see the echo on the ‘averaged synchronized spectrogram’ even if a lot of dB’s were missing to copy the signal by ear ( successfully tested at the local amateur radio station, see configuration EME_Ping_Test.usr ).

———————————————————————————————————————————————–

Notes

Phantom signals when using 48kHz sample rate
(December 1, 2001)
Be careful when using 48000 samples per second. Most modern audio cards really support this sample rate which is nice to receive signals up to 24 kHz. Some cards don’t and you’ll get an error message when you try to use this sample rate. In this case, buy another audio card or stick to 44100 samples per second which is a widely used standard sampling rate. Other cards like the onboard “ESS AudioDrive” in the author’s notebook play dirty tricks when you use 48000 samples per second, here is just one example:
Phantom signals appeared on the waterfall, a signal on 20.7 kHz also appeared (a bit weaker) on 16.8 and 12.9 kHz !
(go figure: 48kHz-44.1kHz = 3.9kHz ; 20.7kHz – 3.9kHz = 16.8kHz ; 20.7 kHz – 2*3.9 kHz = 12.9 kHz) It seems that some cards don’t really sample the analog input at 48000 samples per second, instead they sample at 44100 samples per second and ‘duplicate’ a part of the samples.. what a lousy trick !
Even higher sampling rates and bandwidths
There are now some expensive soundcards on the market which support true 96kHz sampling rate, or even more. If you have one of these cards, try to set the sampling rate to 96000 samples/second. With some luck, you may be able to receive VLF stations up to 40..44 kHz (to receive 48kHz is not possible because of the soundcard’s anti-aliasing filter). Note: I once bought Creative Lab’s “Extigy” card because it said “supports 96 kHz sampling” on the box, only to find out that the A/D converter in fact only runs at 48 kHz. I later tried the Audigy 2 ZS, and got it working after some struggle with unwanted audio bypass from the “Line-In” to “Line-Out” .
Some higher-priced cards can sample at 192 kHz, look here for details.
Another possibility to effectively double the bandwith is feeding a quadrature signal (I/Q signal) into the input of your soundcard (Note: This requires a “stereo line input”, not just a “microphone input” – consider this before buying a new notebook ;-)

—————————————————————————————————
If you are interested in VLF reception, check these sites…

Tagged with:

leave a comment

Digital Mode

Posted in Amateur Radio by longjidin on June 18, 2009

TOR is an acronym for Teleprinting Over Radio. It is traditionally used to describe the three popular “error free” operating modes, AMTOR, PACTOR and G-TOR. The main method for error correction is from a technique called ARQ (automatic repeat request) which is sent by the receiving station to verify any missed data. Since they share the same method of transmission (FSK), they can be economically provided together in one TNC modem and easily operated with any modern radio transceiver. TOR methods that do not use the ARQ hand-shake can be easily operated with readily available software programs for personal computers. For these less complex modes, the TNC (terminal node controller) is replaced by an on-board sound card or out-board audio device. These modes may use redundancy or “human processing” to achieve a level of error correction.

AMTOR is an FSK mode that has been fading into history. While a robust mode, it only has 5 bits (as did its predecessor RTTY) and can not transfer extended ASCII or any binary data. With a set operating rate of 100 baud, it does not effectively compete with the speed and error correction of more modern ARQ modes. The non-ARQ version of this mode is known as FEC, and known as SITOR-B by the Marine Information services.

PACTOR is an FSK mode and is a standard on modern TNCs. It is designed with a combination of packet and Amtor Techniques. It is the most popular ARQ digital mode on amateur HF today. This mode is a major advancement over AMTOR, with its 200 baud operating rate, Huffman compression technique and true binary data transfer capability; more info here

G-TOR (Golay -TOR) is an FSK mode that offers a fast transfer rate compared to Pactor. It incorporates a data inter-leaving system that assists in minimizing the effects of atmospheric noise and has the ability to fix garbled data. G-tor tries to perform all transmissions at 300 baud but drops to 200 baud if difficulties are encountered and finally to 100 baud. (The protocol that brought back those good photos of Saturn and Jupiter from the Voyager space shots was devised by M.Golay and now adapted for ham radio use.)

PACTOR II is a robust and powerful PSK mode which operates well under varying conditions. It uses strong logic, automatic frequency tracking; it is DSP based and as much as 8 times faster then Pactor. Both PACTOR and PACTOR-2 use the same protocol handshake, making the modes compatible; more info here

PACTOR-III is a proprietary mode used for message and traffic handling over an HF radio circuit. Use of Pactor-III protocol is limmitted for US hams and some other countries due to the very wide bandwidth of the Pactor-III signal. Presently digital signals that occupy the bandwidth of PCT-III are restricted to a few sub bands:
28.120-28.189 MHz, 24.925-24.930 MHz, 21.090-21.100 MHz, 18.105-18.110 MHz, 14.0950-14.0995 MHz, 14.1005-14.112 MHz, 10.140-10.150 MHz, 7.100-7.105 MHz, or 3.620-3.635 MHz.
Only the embedded hardware (modem) from the German company that owns the rights to this mode, is capable of operating Pactor-III.

CLOVER is a PSK mode which provides a full duplex simulation. It is well suited for HF operation (especially under good conditions), however, there are differences between CLOVER modems. The original modem was named CLOVER-I, the latest DSP based modem is named CLOVER-II. Clovers key characteristics are band-width efficiency with high error-corrected data rates. Clover adapts to conditions by constantly monitoring the received signal. Based on this monitoring, Clover determines the best modulation scheme to use; more info here

RTTY or “Radio Teletype” is a FSK mode that has been in use longer than any other digital mode (except for morse code). RTTY is a very simple technique which uses a five-bit code to represent all the letters of the alphabet, the numbers, some punctuation and some control characters. At 45 baud (typically) each bit is 1/45.45 seconds long, or 22 msec and corresponds to a typing speed of 60 WPM. There is no error correction provided in RTTY; noise and interference can have a seriously detrimental effect. Despite it’s relative disadvantages, RTTY is still popular with die-hard operators; more info here

PSK31 is the first new digital mode to find popularity on HF bands in many years. It combines the advantages of a simple variable length text code with a narrow bandwidth phase-shift keying (PSK) signal using DSP techniques. This mode is designed for “real time” keyboard operation and at a 31 baud rate is only fast enough to keep up with the typical amateur typist. PSK31 enjoys great popularity on the HF bands today and is presently the standard for live keyboard communications. Most of the ASCII characters are supported. A second version having four (quad) phase shifts (QPSK) is available that provides Forward Error Correction (FEC) at the cost of reduced Signal to Noise ratio. Information on getting started with this mode and other sound card modes is available here .

HF PACKET radio is a FSK mode that is an adaption of the very popular Packet radio used on VHF FM ham radio. Although the HF version of Packet Radio has a much reduced bandwidth due to the noise levels associated with HF operation, it maintains the same protocols and ability to “node” many stations on one frequency. Even with the reduced bandwidth (300 baud rate), this mode is unreliable for general HF ham communications and is mainly used to pass routine traffic and data between areas where VHF repeaters maybe lacking.

HELLSCHREIBER is a method of sending and receiving text using facsimile technology. This mode has been around along time; the recent use of PC sound cards as DSP units has increased the interest in Hellschreiber. The single-tone version (Feld-Hell) is the method of choice for HF operation. It is an on-off keyed system with 122.5 dots/second, or about a 35 WPM text rate, with a narrow bandwidth (about 75 Hz). Text characters are “painted” on the screen, as apposed to being decoded and printed. A new “designer” flavor of this mode called FM HELL has some advantage for providing better quality print, at the expense of a greater duty cycle. As with other “fuzzy modes” it has the advantage of using the “human processor” for error correction.

MT63 is a new DSP based mode for sending keyboard text over paths that experience fading and interference from other signals. It is accomplished by a complex scheme to encode text in a matrix of 64 tones over time and frequency. This overkill method provides a “cushion” of error correction at the receiving end while still providing a 100 WPM rate. The wide bandwidth (1 kHz for the standard method) makes this mode less desirable on crowded ham bands such as 20 meters. More info on this 64-tone mode here.

MFSK16 is an advancement to the THROB mode and encodes 16 tones. The PC sound card for DSP uses Fast Fourier Transform technology to decode the ASCII characters, and Constant Phase Frequency Shift Keying to send the coded signal. Continuous Forward Error Correction (FEC) sends all data twice with an interleaving technique to reduce errors from impulse noise and static crashes. A new improved Varicode is used to increase the efficiency of sending extended ASCII characters, making it possible to transfer short data files between stations under fair to good conditions. Similar to SSTV, small images can be transferred (typ. 170×128). The relatively wide bandwidth (316 Hz) for this mode allows higher baud rates (typing is about 42 WPM) and greater immunity to multi path phase shift. This mode is becoming a standard for reliable keyboard-to-keyboard operation and is available in several popular programs. (more info on this mode here)

THROB is yet another new DSP sound card mode that attempts to use Fast Fourier Transform technology (as used by waterfall displays) to decode a 5 tone signal. The THROB program is an attempt to push DSP into the area where other methods fail because of sensitivity or propagation difficulties and at the same time work at a reasonable speed. There are 1, 2, or 4 throbs per second, resulting in a text speed that is lower than other modes. Check the website of the THROB-author (G3PPT)his web site for the latest developments. (more info here)

OLIVIA is a new digital MFSK mode and it seems to be highly resistant to QSB (fading) and noise (QRM). It was created in 2005 by Pawel Jalocha (SP9VRC), and named after his daughter. Actually, it is a combination of MFSK and Forward Error Correction (FEC that is based on Walsh-functions. As with other modes, Olivia has several variants, each having a different bandwidth (from 500Hz to 2kHz) and different number of tones. Olivia can be very slow (in the order of 2-3 characters per second). This mode can combine 4-256 tones (2n), with 250, 500, 1000, or 2000 Hz bandwidth. The prevailing standard setting is 32 tones and 1000 Hz with 31.25 baud. This allows ±125 Hz of mis-tuning. Standard frequencies are 7038.5, 14104.5, 14105.5, 14106.5, 14107.5, 14108.5 (calling frequency), 18102.5, 18103.5, 18104.5, 21129.5 kHz (for 1000 Hz AF; USB).

CONTESTIA was derived from OLIVIA by Nick Fedoseev (UT2UZ). It has yet to gain popularity…

NOTES:
Frequency-shift keying (FSK) shifts between two known states. Phase-shift keying (PSK) changes PHASE of a signal against some reference. FSK is sent by either shifting a carrier frequency (F1B) or modulating SSB with two shifting audio tones (AFSK). When sending PSK, a complex audio waveform is transmitted by SSB. Tracking is much more critical for PSK, thus requiring more frequency stability.

DSP (Digital Signal Processing) techniques use high speed processing to convert audio into digital coding, so that a program can manipulate the coded audio in ways not possible with traditional hardware filters. The 16 and 32 bit sound cards found in modern PCs provide this capability.

FUZZY MODES are those modes that allow the human eye/ear/brain to be used to its maximum potential. In order to do this, a number of rules are required, to ensure that any electronics or logic circuitry is not allowed to make decisions which may be less inspired than human decisions. Examples of potentially Fuzzy modes are Morse Code, HFFAX, SSTV and Hellschreiber. The rules are:
1) The transmissions must be uncoded. (The signal is sent as a real-time language.)
2) The receiver must not decide when data is present. (Untouched by any prior decisions.)
3) The receiver must not decide what data is present. (It must be presented as received.)

List of Digital Modes:-

1/8 SPEED-HELL
108.86 FEC-SYSTEM
36-50
2MFSK-16
4MFSK-16
4+4
81-29
81-40.5
81-81
1382 Pager
8075 FSK Selcall Device
3G-ALE
ACARS-HF
ACARS V/UHF
AEGIS
AES2
AES4
AERO TUNING CALL
AIS system M.1371-1
ALADIN R&S
ALCATEL 801
ALE-8
ALF
ALGERIAN-4Tone
ALGERIAN-8Tone
ALIS
ALIS 8Bit
ALIS-2
ALIS 2000
AMPS
AMSAT-P3D
ANNEX 10
AN/TRQ-35 Ionosonde
APOC
APOR-VFT
APRS
AQC-ALE
ARAMIS R&S
ARCAS
ARCAS II
ARCOTEL-FARCOS 1800Bd ALE
ARCOTEL- MAHRS 2400Bd ALE
ARCOTEL-ALE
ARES
ARQ6-70
ARQ6-90
ARQ6-98
ARQ-E
ARQ-E3
ARQ-M2-242
ARQ-M2-342
ARQ-M4-242
ARQ-M4-342
ARQ-N
ARQ-S
ARS-GUARD
ARTOR
ASCII
ASCII 10Bit ARQ SLOVAK
ASCII 11Bit ARQ BULGARIAN
ASCII-ARQ CZECH
ASCII-ARQ RUSSIAN
ASCII-SLOVAK
ASTRO APCO-25
ASK
ATCS-SPEC200
ATIS
AUM 13
AUTOSPEC
AUTOSPEC II
BARRETT Selcall / Hangup
BAUDOT
BAUDOT 1 Stopbit
BAUDOT 1,5 Stopbit
BAUDOT 2 Stopbit
BAUDOT F7BBN
BARRIE 6028
BPSK 63
BPSK 125
BPSK 125F
BPSK 220
BPSK 220F
BUL-39 Tone
BULG-107 Pseudo
BULG-ALE
BULG-ASCII
BULG-DIPLO
BULG-DIPLO 39 Tones Parallel
BULGARIAN 8FSK ALE/selcall
BUL-107.53BD PSEUDO
CABMASTER
C-BPSK
CCIR-1
CCIR-2
CCIR-3
CCIR-4
CCIR-5
CCIR-6
CCIR-7
CCIR-8
CCIR-9
CCITT
CCW
CDPD
CHINESE 4+4 Parallel
CHINESE 2400 Serial
CHINESE 32Tone
CHINESE MIL- 18Tone
CHINESE MIL- 39Tone
CHINESE MIL- 4FSK
CHU Time Signal
CIMAT Autolink
CIS- 3x BAUDOT 50
CIS- 3×100 VFT
CIS- 3×144 VFT
CIS- 3x BAUDOT 50Bd
CIS NAVY
CIS-11
CIS-12
CIS-12×120 Bd Parallel
CIS-14
CIS-20×75 Bd Parallel
CIS-27
CIS-36
CIS-40.5
CIS-50
CIS-73
CIS-75
CIS-96
CIS-100 BURST
CIS-150 ALE
CIS-200
CIS-300,5 BURST
CIS-640 PSK
CIS-1200
CIS-1280 PSK
CLANSMAN FSK – BURST
CLOVER
CLOVER II
CLOVER MARINE
CLOVER 400
CLOVER 500
CLOVER 2000
CMT
C/MT-Hell
COBRA
CODAN 16
CODAN 81
CODAN SELCAL 8580
CODEC
COGNITO
COMM AIRBORNE 1800
COMM MARITIME 1440
COMPULERT FSK-FM
COQUELET 8
COQUELET 8v2
COQUELET 8 AUTO
COQUELET 8 FEC
COQUELET 13
COQUELET 30
COQUELET 80
COQUELET 82
CV-786 FSK
CW MORSE
CZECH-2400
D-AMPS
D-STAR
DATAPLEX-GW
DCF 77
DCS
DDS-4800
DECCA
DES Encription
DFCW
DGPS-MSK
DGPS-QPSK
DGPS/DATATRAK
DIGTRX 8 Tones Parallel
DMB
DOMINO-DF
DOMINO-8
DOMINO-11
DOMINO-16
DPRK 150
DPRK 300
DPRK 600
DPRK 1200
DSP-9000 Type I Selcall
DSP-9000 Type II Selcall
DTMF
DUP-ARQ
DUP-ARQ II
DUP-ARQ SELCALL
DUP-FEC 2
DUPLO-HELL
DZVEI
EAS
EADS/TELEFUNKEN RACOMS FARCOS
EADS/TELEFUNKEN RACOMS MAHRS
ECHOTEL-EAS
EEA/CCIR 2
EEA/CCIR 7
EFJ-LTR
EFR
EIA
ELECTROCOM-INVADR
EMWIN
EOTD
EPIRB
EPLRS
ERMES
ET-1
ET-2
ET-3
EURO
F7B 195,3 4Tone
FAF SYSTEM
FARCOS SYSTEM
FAX
FAX 480
FAX FRENCH
FEBEKO
FEC-A
FEC-S
FED-STD 1052 (ALE) Parser
FELD-HELL
FELDNEW-8
F-HELL
FHSS
FLEET BROADCASTING
FLEX
FM-HELL
FMS-BOS
FNL BURST
FRENCH-300
FRENCH AF Tonecall System
FSK HELL x10 DUPLO
FSK STANAG 5065
FSK-31
FSK-411
FSK-411B
FSK-411C
FSK-600
FSK-CIS
FSK-HELL
FSTV
GAF 144 3Ch VFT
GE MARK-V
GERMAN MOI – ARQ-E
GERMAN AF 11Bit
GERMAN AF 3xFEC
GERMAN NAVY 3xFEC
GE-STAR
GL-HELL
GL-72
GLOBALSTAR
GMDSS/DSC HF
GMDSS/DSC V/UHF
GMDSS VHF VTS Digital Selcall (M.825 DSC)
GN-150 FSK 3Ch
GNY SYSTEM
GOLAY
GWEN
GW-CLOVER
GW-PACTOR
GW-Parallel Tone ARQ
GW-Single Tone ARQ Serial
G-TOR
HAGELIN CRYPTOS HC-265
HARMON HP-1
HARMON MCS ½ BASE
HART PRIME Packet
HARRIS ADVANCED HF Data System Serial
HARRIS/ AHFDS ALE
HARRIS/ALE
HARRIS RF-3560C/3575 Selcall
HARRIS RF-3700H/UITS
HAVE QUICKI/II
HC-ARQ
HCLOS
HDSSTV
HELL SIEMENS
HELL-80
HELLSCHREIBER
HFSK
HFSK-16
HF-2000/Autocall 4FSK selcall
HNG-FEC
HSCW
HYPERFIX		 IMBE
INFLEXON
INFOCALL
INMARSAT A
INMARSAT Aero
INMARSAT A Telex
INMARSAT B
INMARSAT C
INMARSAT C-TDM
INMARSAT C-TDMA
INMARSAT C Control
INMARSAT C Data
INMARSAT D/D+
INMARSAT Fleet F33
INMARSAT Fleet F55
INMARSAT Fleet 77
INMARSAT M
INMARSAT M4
INMARSAT M Data
INMARSAT M Fax
INMARSAT M Voice
INMARSAT Mini-M
INMARSAT Mini-M Data
INMARSAT Mini-M Fax
INMARSAT Mini-M Voice
INMARSAT M4-ISDN
INMARSAT RBgan
IRA-ARQ
ISRAELI MIL/INTEL
ISRAELI-INTEL VFT PSK+FSK
IRIDIUM
ISR-PSK
ITALIAN-MIL
JAPANESE OFDM
JAPANESE PSK
JAPANESE-MIL 8/16
JASON
JENAL SC-32 Selcall
JENAL SC-33 Selcall
JENAL SC-51 Selcall
JENAL / Schuemperlin SC-2 Selcall
JENAL / Schuemperlin SC-3 Selcall
JT-44
JT-6M
JT-65
JT-65B
JT-65C
KFF-58
KG-40A
KG-84A NATO
KG-84C NATO
KG-87
KG-94A
KIV-19
KL-43
KRE-PSK
KY 57/58
KY-65 VOICE CRYPTO
KY-99
LINCOMPEX
LINEA-500 ARQ
LINEA-500 FEC
LINK-1
LINK-4 (TADIL-C)
LINK-4A
LINK-11 (TADIL-A)
LINK-11 Serial
LINK-11B (TADIL-B)
LINK-14
LINK-16 (TADIL-J)
LINK-22
LOJACK
LORAN
LORAN-C
LSM-187
LSM-53
M/A-COM
MARCONI SCIMITAR-H 25 Tones v/2eccm Parallel
MARK IV/V/VI
MAZIELKA
MD-513B 16Tones PSK
MD-522 NB FSK
MD-522 WB
MD-522 IBD
MD-674 Asyn. FSK
MD-1061 16 Tonos
MD-1142
MD-1239 16 Tonos
MD-1268 16 Tonos
MD-1280
MDC-1200
MDC-4800
MDC-4800 ARDIS
MDS 9710
MDT-4800
MDT-19200
MELP
METEOR HLCS
METEOSAT
MFSK-8
MFSK-16
MFSK-20
MFSK-34
MIDLAND CMS
MIL STD-110-342
MIL STD-110-342 16CH VFT
MIL STD-188-110A Serial
MIL STD-188-110A App.A 16 Tones
MIL STD-188-110A App.B 39 Tones
MIL STD-188-110B
MIL STD-188-110B App.B
MIL STD-188-110B App.C
MIL STD-188-110B App.D
MIL STD-188-110B App.E
MIL STD-188-110B App.F
MIL STD-188-110B 16 Tones
MIL STD-188-110B 39 Tones
MIL STD-188-141A (FED-STD 1045″ALE”)
MIL STD-188-141B
MIL STD-188-141B App.A
MIL STD-188-141B App.B
MIL STD-188-181
MIL STD-188-182
MIL STD-188-183
MIL STD-188-196
MIL STD-188-197
MIL STD-188-198
MIL STD-188-220A
MIL STD-188-220B
MIL STD-2301
MIL STD-2500
MIL STD-5529-A NB Asyn.FSK
MIL STD-5529-A WB Asyn.FSK
MAGNETI MARELLI F1-Telemetry
MMP-4800
MOBITEX
MODACOM
MODAT
MOI-ROMA
MOI-VFT
MPT 1317-UK
MPT 1327/1343
MS 25
MS 100
MS 1000
MS5-FIRE
MSF
MSFSCW
MSS
MT-4
MT-63
MT-HELL
MTTY
MOSAIC-II
MPSK-16
MPSK-63
MULCAST – VFT
NATEL
NATO CRYPTO/AIDED RATT
NATO 16 Tones
NATO 39 Tones
NATO 75
NATO 100
NATO AERO TONE
NATO RATT
NBTV
NEC/D3
NECODE 321AR Selcall
NECODE 322AR Selcall
NECODE 322ARX Selcall
NEW ICO
NEXNET
NEXTEL
NMT 450
NMT 900
NOAA-GEOSAT
NOKIA SYSTEM
NORTH KOREAN DIPLO
NUM 13
OLMEC
OLIVIA 4 Tones
OLIVIA 16 Tones
OLIVIA 32 Tones
OTAR
OTHR SYSTEM 25Hz Pulsing
OTHR SYSTEM 50Hz Pulsing
OTHR SYSTEM NOSTRADAMUS
OSCR
P1-96
PACKET V/UHF
PACKET-HF
PACT
PACTOR-I 1
PACTOR-I 2
PACTOR-I 3
PACTOR-I 4
PACTOR-I 5
PACTOR-I 6
PACTOR-I 7
PACTOR II
PACTOR II FEC
PACTOR III ARQ
PACTOR III / 12 Tonos Variant
PACTOR-ARQ
PACTOR-FEC
PACTOR-GLOBE WIRELESS
PACTOR FREE SIGNAL
PACTOR-Selcall
PAGER
PAKNET
PAKTEL-CP100
PANTHER-H
PC-HELL
PCM 30/E1
PCS
PCW
PICCOLO MK1
PICCOLO MK6
PICCOLO MK12
PICCOLO VFT 2×20
PICCOTOR
PICTOR
POL-ARQ
POL-MIL
POSS Elmer 2VFT FSK selcall
POR-MIL
POR-MIL VFT
PRC 8 Tones
PRC 16 Tones
PRC 19 TONE TYPE1
PRC 19 TONE TYPE2
PRC 32 TONE
PRC 39 TONE TYPE1
PRC 39 TONE TYPE2
PRC 4+4
PRC 4FSK-400Hz
PRC 4FSK-500Hz
PRC 64 TONE
PRC FSK
PRC 2200 MFSK
PRC 2400 Bd
PRC HYBRID
PRC OFDM
PRESS-FAX
PRESS-HELL
PSKAM
PSKAMxx
PSKAM-10
PSKAM-31
PSKAM-50
PSK-FEC31
PSK-HELL
PSK-02
PSK-08
PSK-10
PSK-31 BPSK
PSK-31 QPSK
PSK-63F
PSK-105-HELL
PSK-125F
PSK-128
PSK-245-HELL
PSK-400 AO40
PSK-FEC31
PZVEI
Q-MAC Selcall
Q15×25		 QAM
QPSK-9
QPSK-31 FEC
QPSK-63 FEC
QRSS
RACAL COUGAR Voice Encrip.
RAC-ARQ
RADIONICS Safecom
RAM Mobile Data
RAMP
RBDS
RBGAN
RD-LAP
RDS
RECEPTOR
REFLEX
RN Selcall
RN Bikini
RN Bikini type II Selcall
ROCKWELL Selscan-4Tone
ROCKWELL Q9600 HDR MODEM
ROU-MOI FEC
ROHDE & SCHWARZ (FEC-BURST)
ROHDE & SCHWARZ ARQ
R&S 8Tone ARQ
R&S-2400 PSK
R&S-ALIS v1
R&S-ALIS v2
R&S-ALIS 2000FH
RUM-FEC
RUS 40Bd
RUS- CHIRP
RUS DIPLO-2Tone
RUS DIPLO-6Tone
RUS DIPLO 25Bd FSK Sequence
RUS DIPLO-F1A Tone
RUS-INTEL VFT
RUS-INTEL 2 Tones PSK
RUS-INTEL (1+12)Tones
RUS-INTEL (12+1)Tones
RUS-INTEL (17+1)Tones
RUS PARALLEL-TONE
RUS-144 FEC
RUSSIAN 640Bd
RUSSIAN 1280Bd
RUSSIAN OFDM Modem 45 Tones HDR
RUSSIAN OFDM Modem 60 Tones HDR
RUSSIAN OFDM Modem 93 Tones HDR
SAILOR CRY 2001
S/MT HELL
SAT-A-TELEX
SAT-B-F-Telex
SAT-B-F-Fax
SAT-B-F-Data
SAT-B-F-Voice
SAT-C-DATA
SAT-M-F-Data
SAT-M-F-Fax
SAT-M-R-Data
SAT-M-R-Fax
SAT-mM-F-Data
SAT-mM-F-Fax
SAT-mM-R-Data
SAT-mM-R-Fax
SAT-M/mM Voice
SATCOM DATA3
SATCOM-MDR
SATURN
SCADA
SIEMENS CHP 200 250Bd
SGC Selcall
SINGAPORE NAVY 75Bd Cripto Fsk System
SINOP
SITOR-A
SITOR-B
SKYFAX-MSM
SKYFAX-HSM
SKYHOPPER
SKYMASTER-8 FSK
SKYPER
SLOW-FELD HELL
SMS
SMT
SOVIET 84
SP-14
SPEECH
SPEEDCALL-DTMF
SPREAD-11
SPREAD-21
SPREAD-51
SPECTRATEK SR-3 Selcall
SSR
SSTV Automatic
SSTV AVT 188
SSTV AVT 24
SSTV AVT 90
SSTV AVT 94
SSTV AVT B&W
SSTV HQ1
SSTV HQ2
SSTV Martin 1&3
SSTV Martin 2&4
SSTV P3
SSTV P5
SSTV P7
SSTV Pasokon P-3
SSTV Pasokon P-5
SSTV Pasokon P-7
SSTV PD120
SSTV PD160
SSTV PD180
SSTV PD240
SSTV PD290
SSTV PD50
SSTV PD90
SSTV Robot 24s
SSTV Robot 36s
SSTV Robot 8s
SSTV SC-1 16&32s
SSTV SC-1 24&48s
SSTV SC-1 48&96s
SSTV SC-1 8s
SSTV SC-2 120s
SSTV SC-2 180s
SSTV SC-2 30&60s
SSTV Scottie 2&4
SSTV Scottie DX
SSTV TV1
SSTV TV2
STANAG 4231
STANAG 4285
STANAG 4285 ARQ
STANAG 4285 ARQ Burst
STANAG 4285 FEC
STANAG 4289
STANAG 4415
STANAG 4444
STANAG 4481 (KG-84)
STANAG 4529
STANAG 4538
STANAG 4538 ARCS
STANAG 4539
STANAG 5006
STANAG 5065
STANAG 5066
STANAG 5066 Annex A
STANAG 5066 Annex B
STANAG 5066 Annex C
STANAG 5511
STANAG 5522
STATUSBOX
SOUTH AFRICAN NAVY MFSK 54.32Bd
SOUTH AFRICAN FSK 130.23Bd
SUI-FEC
SUI-MIL
SUPER DARN OTHR SYSTEM
SWED-ARQ
SWED-DIPLO 2400
SWEDISH MBS
TADIL-C
TADIL-J
TADIRAN HF-DATA Modem
TAG-CTX330
TAG-CTX400
TAIWANESE FSK
TCC DSP-9000 selcall
TE-204 FSK
TETRA-CIVIL
TETRA-POL
THALES HF950 Selcall
THALES/RACAL Merod 150Bd
THALES Systeme3000 8FSK ALE/selcall
THALES TRC-1752 STANAG 4285 Fec
THOMSON CSF/THALES System 3000 8-FSK
THROB
THROB (1Tps)
THROB (2Tps)
THROB (4Tps)
THROB-4
THROB-X
THROB-2000
TMS 430
TPLEX
TRACNET
TRACKER
TT1585 TWINPLEX
TT2300B
THURAYA
TURKISH-25 Tone
TWINPLEX
TWINPLEX BAUDOT
TWINPLEX-ARQ
TWINPLEX-SITOR
UHFLOS-HDR
UK-4FSK
UK-ARMY
UK-MIL 8Ch VFT
UK-NAVY
UOSAT-OSCAR11
US INTEL
US INTEL FEC
US MIL 4Frec. Modem
US MIL 16/39 Tones Parallel
USAF IONOSONDE
USAF Pseudo
USC-11
VDEW
VDL MODE1
VDL MODE2
VDL MODE3
VDL MODE4
VFSKCW
VSLEP Digital Voice
WA2 Selcall / Telcall / Hangup
WEATHER FAX
WSJT HSMS
WTK-170
WOLF
WWVB
x9 HELL METEOR SCATTER
XPH
YAESU/Vertex Standard 600 Selcall
YAESU/Vertex Standard 1210 Selcall
YUG MIL 20 Tones 20×75 Parallel
YUG DIPLO 20 Tones 20×75 Parallel
YUG DIPLO 16
YUG-MIL FEC
ZETRON 6/26
ZVEI-I
ZVEI-II
ZVEI-III
ZVEI

if we can see this MODE on the air i think we cannot move because it’s full with this type of signal..so scary!! i love this all Mode :-)

Audio sample link:-
http://www.nonstopsystems.com
http://wiki.ham-radio-deluxe.com
http://www.kb9ukd.com

for more detail just Google it………………………

Good Luck !!!

Tagged with:

leave a comment