Windows XP users can use the default location which will be created automatically in the installation process. Click on this link. You should then see the installation program begin downloading to your computer. Wait until it completes. When the file download is complete, you will see the screen below. After the file has downloaded, the Setup window will appear. This equipment posed severe constraints on the RTTY mode that are still evident today.
Despite these constraints, RTTY has proven to be quite well-adapted to contesting, and it is still by far the most common digital contesting mode. More recently, these mechanical teleprinters have been replaced by other devices. For example, a user might choose to use a terminal unit such as the HAL DXP in parallel with one or more copies of MMTTY using different decoding algorithms and parameters, in the hope that when conditions are marginal, one or another of the parallel decoders will succeed even when the others are failing to decode accurately.
MMTTY performs very well, and offers a wide range of adjustments and options that are not available with the other available choices. The frequency shifting can be done either within the radio in radios which support this method, or external to the radio at audio frequencies for example, in a computer sound card.
The first method usually called FSK requires an on-off keying signal to be applied to a keying input to the radio. FSK therefore requires an on-off keying interface between the computer and the radio, and the radio must have the internal circuitry required to perform the frequency shifting. Because the optimum filtering and other settings for RTTY operation are different from those for voice communication, some transceivers offer special AFSK or digital-mode modes, but fundamentally these specialized audio digital modes operate in the same way as SSB.
From a signal quality point of view, the very best AFSK setups can produce signals that are somewhat cleaner occupy less spectrum than most FSK transmitters are capable of, but on the other hand, a poorly set up AFSK station can transmit spurious signals, splatter or hum and noise. As a result, it is important not to overstress the transmitter.
It is also important to take steps to avoid transmitting extraneous noises or spurious signals, and to ensure that neither audio harmonics nor intermodulation distortion IMD products are generated anywhere in the signal chain.
In amateur RTTY, these two frequencies are almost always separated by Hz, and the mark frequency is the higher of the two RF frequencies. His signal will be gibberish at the receiving station, unless the operator there inverts his receive polarity. In FSK, getting the polarity right involves arranging things so that the switching conventions does closing the keying input result in mark or space?
Unfortunately, the switching conventions are not universal. Fortunately, almost all radios affected by this have a menu item in the radio to reverse the keying polarity. If software is used to demodulate the received signal, it must be set so that the lower of the two audio tones is converted to mark and the upper tone to space.
This is the default configuration in most software that supports FSK keying. Note that in FSK, the transmit and receive polarities are determined independently, i. In AFSK, getting the polarity right involves coordination between the choice of audio frequencies generated in the sound card and the choice of sideband on the radio.
The default combination in MMTTY and 2Tone is to use lower sideband on the radio, combined with an audio tone pair in which the mark tone is the lower of the two audio frequencies e. The use of the lower sideband inverts these tones at RF to match the standard amateur convention. Software like Fldigi that uses the opposite convention mark tone higher than space is used with the radio in upper sideband. Fortunately, once the receive polarity is correct in AFSK, the transmit polarity will also be automatically correct.
The second sometimes puzzling aspect is related to the RTTY character set. The most common problem that results is numbers being printed as letters, so with a bit of experience, many RTTY operators will get used to interpreting TOO as and UE as Serial numbers are slightly more difficult; PQW in the input data is most likely , and so on. You can see which letter corresponds to which number by comparing the top QWERTY row of letters on the keyboard with the numbers immediately above and to the left.
Various software has different ways of helping out with this. This requires you to move the mouse over the text that you want to convert; the unconverted text is displayed in the MouseOver box.
It was designed for normal text, where the majority of information is alphabetic. This takes no extra time, but improves reliability of receipt of alphabetic text. When you are ragchewing, you should always use UOS on both receive and transmit.
During contests, the receive UOS option is still helpful, especially when the exchange includes letters, and it does not cost anything. Do not make the mistake of using dashes between alphabetic fields though; dashes between alphabetic fields are both slower and less reliable than spaces.
A compromise among all of these possibilities is to always turn transmit UOS on, but use a hybrid exchange: a dash instead of a space after the signal report, but spaces after that. The advent of sound cards in PCs made these sound-card modes available for anyone to use with a minimum of expense. All that is needed is an SSB transceiver, an audio interface which can be as simple as patch cables, or can include isolation and attenuation controls and a means of controlling PTT, unless VOX is used.
Fldigi supports a wider variety of digital modes than MMVARI, although the majority of these modes are not used for contesting. Conventionally, sound-card digital modes are communicated using USB, regardless of the band. Tuning is often done simply by clicking on the desired signal in the waterfall display. There are also higher-speed versions, PSK63 As a result of this combination of phase and amplitude modulation, PSK31 places great requirements on the linearity of the equipment used, from the sound card generating the signal to the transmitter, and also the receiver.
The peak power of a PSK31 signal can be approximately twice as high as the average power. This allows for some error correction while still delivering the same text speed. QPSK31 is sideband-dependent, i. PSK31 works well even at low powers. In fact, once the transmitted power is sufficiently high to give an acceptable level of copy, there is no advantage to be gained by increasing power further.
More importantly, a very strong signal will affect the AGC in every receiver that picks it up, causing the receiver gain to decrease and making copy of signals on other frequencies more difficult. For this reason, high-power operation is unpopular in PSK These are not contesting programs, and while WSJT-X does support a limited number of contests, its support for duplicate checking, multiplier checking, and score calculation is minimal.
This window controls the communications between the two programs. After the first overview part, which should be of interest to anyone getting started using digital modes with the Logger, the remainder of this section of the manual is a potpourri of miscellaneous ideas and suggestions on how to use the Logger in digital modes other than the WSJT modes. Regardless of which of these engines is used, the digital data streams pass to and from the engine via the Digital Interface DI window.
At least one DI window must be open to operate the Logger in digital modes. Both DI windows have full receive and transmit capabilities. It is also possible to supplement the two DI windows with up to four additional receive-only windows each. The user can interact with the DI windows using either the keyboard or the mouse as the primary control interface.
There is a wide variety of options available to customize the operation of the digital interface. One of the programs is used in the main Digital Interface window, and the other one is used in an additional RX-Only window. Fldigi supports a wider variety of modes, although most of those modes are not used for contesting. For most users, it is probably the user interface that determines which of these two engines they prefer. Users who are accustomed to operating digital modes using one of these engines may be more comfortable using the same engine for RTTY as well, instead of switching to MMTTY.
For most such terminal units, the user will have to program the software commands needed to control the unit into the digital interface. The remainder of this section describes the operation of the DI windows, including basic operation as well as advanced features that can help make operation easier and more efficient. A separate section describes how to set up N1MM Logger and the DI Window for digital modes regardless of which type of digital engine is used.
Focus is automatically returned back to the Entry window when clicking a call sign in the Receive window. Callsigns and exchanges are displayed in the Digital Interface DI window. This setting could improve your rate greatly as your hand never leaves the mouse except for the occasional difficult exchange. Making a qso:. Right click takes the place of hitting Enter for ESM. Most of the time while in the contest I have one hand on the mouse and the other hand I have one finger resting on the space between the Esc and F1 keys.
The macros which can be used and some examples can be found in the macros reference section. There are several additional buttons for an External TNC. The program has the possibility to lookup the name from a station entered in the Callsign field. For this to happen the following has to be done. These files are a safety feature, as you can go back through them for any info you missed or lost during a crash. The purpose of these windows is to allow simultaneous use of more than one decoding algorithm on the same audio input.
While it is possible, by using wide bandwidth filters, to use the additional windows to decode different signals from the one in the main DI windows, the normal use of the additional windows is to decode the same signal as the one in the main window, using a different decoding method to improve the overall ability to decode signals in difficult situations. There are setup instructions for the additional receive-only windows here. Each digital engine used by the Logger stores its configuration information in the directory the engine is run from.
For that reason, you should create a separate directory for each copy, separate from the directory you use when you run it stand-alone or from some other logging program. If you use more than one copy of a digital engine for example, for SO2V or SO2R, or for additional RX-only windows , you need a separate directory for each copy.
Make sure the Hardware tab is selected this is the tab the Configurer starts up in by default. In what follows, it is assumed that you already have radio control, CW keying and PTT control configured and working, and what you are trying to do is add in the capability for digital modes. All that being said, there are two cases where you need to do something about PTT control for digital modes in the Configurer.
Next, you need to select the Digital Modes tab in the Configurer. If you will be using Fldigi, there are separate places to enter the paths to Fldigi. For all of these, it is recommended that you do not try typing in the path directly. Instead, click on the Select button, which opens a standard Windows file Open dialog window, and then navigate till you find the desired.
Once the paths to the digital engines are set up, select the Mode Control tab in the Configurer. For more detailed explanation of the various options available, see the section below titled Setting Up the Configurer. Back in the main Entry window, if you have not already done so, choose a contest type that allows digital modes i. This should open the Digital Interface window. If your preferred digital engine does not open e. This does not apply for FSK keying, and it does not apply if you are using a sound card external to the radio.
Under Alignment Frequency, enter your preferred Mark audio frequency e. When you have completed the setup in the Digital Setup window, click on Save Configuration. There are a host of other options in the Digital Interface and Digital Setup windows. A complete reference manual for the menu options in the DI window is in the section below titled The Digital Interface — Menu Selections, and a reference manual for the Digital Setup window is in the section titled The Digital Interface — Setup.
Now you have to complete the configuration inside the digital engine itself. There are too many possibilities to cover here, so consult the chapter s appropriate to your situation and complete the setup as described there.
Setting up an interface requires configuring the Logger for the selected interface. You will also have to perform some configuration from within your chosen digital engine. The same applies to 2Tone and Fldigi. This process is described in the next two sub-sections. A brief note about hardware connections. It is impossible to cover all of the permutations and combinations in detail, but the following general comments apply.
If your radio has one receiver, this will probably use the left channel of the sound card; with dual receivers, the second receiver may use the right channel of course, this requires a stereo sound card; some external sound cards, such as the SignaLink, are mono and will not support dual-channel receive; also, in Windows Vista, 7, 8 and 10 the Windows configuration for the sound card device must be set to two channels for the sound card to work in stereo.
If your sound card does not have a line level input, you may need to use a microphone input, and in this case you may need an attenuator to reduce the line level output from the radio to the lower level needed for the microphone level input on the sound card. To transmit, there must be some means to convey modulation from the computer to the radio.
This serial port cannot be the same port that is used for radio control or for a Winkeyer or other serial device. If the only audio input on the radio is a microphone input, you may need attenuation to reduce the level to avoid overdriving the transmitter. For radios with an internal codec, there is no need for external audio connections, but you may need to adjust menu settings in the radio to ensure that the radio uses the internal codec as its audio source for data modes. In Windows 10, starting with the Spring update, there is a privacy setting that may need to be adjusted to permit digital mode programs to gain access to sound card inputs.
In the Windows Setting window, select Privacy, and then among the functions on the left side of the window, select Microphone. This option must be set to On; if it is set to Off, Windows will block programs from gaining access to any sound card inputs.
The most common method is to use hardware PTT control from a serial or parallel port via a simple keying circuit. If PTT is controlled from a digital engine rather than from the Logger, and you use that same serial port from the Logger in other modes e. If you do not have a separate serial or parallel port available for PTT in digital modes, you can control PTT directly from the Logger.
Warning: Using both software and hardware PTT control at the same time can cause problems; do not use both methods in parallel. This does not work with all radios, it cannot be used for FSK RTTY, and setting of audio levels and VOX triggering levels can be tricky, but some users have found this to be the simplest method of PTT control, since it does not require any additional hardware connections.
Some external interfaces e. SignaLink perform a VOX function external to the radio, i. If you are using such an interface, or VOX within the radio, you do not configure any PTT in the Logger or in the digital engine, as PTT control in these cases is external to the software. If your radio has a built-in codec connected to the computer via a USB cable, you can configure the digital engine sound card software to use this codec in place of a sound card in the computer.
The only difference between this and a conventional computer sound card installation is that the audio cables between the sound card and the radio are replaced by a USB cable between the computer and the radio. Despite the fact that the codec and the serial adapter share the same physical cable, there is no logical connection between the two devices.
If the virtual serial port created by the USB device driver is used for CAT control, it must be configured in the Logger, while the codec using the same USB cable is configured separately in the digital engine. The recording sound level should be adjusted to be just below the point where this word is displayed on the strongest signals.
A setting somewhere in the upper middle part of the range is ideal, provided it produces enough signal for the radio. Gain distribution is also important. This is where both received and transmitted signals will be strongest. All I can say is installing over the older version should work.. It might be a good idea to make a back up copy of Mmvari. I would like to see the feasibility first, and after then improve the engine and cosmetics.
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