1215 lines
62 KiB
Groff
1215 lines
62 KiB
Groff
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MANUAL TO VERSION 1.1 OF
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THE
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ROWDY DIALER
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(By RowdyB)
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1st Release: April '93
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-------------------------------------------------------------------------
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Please don't hesitate to bother me at either: at073@cleveland.freenet.edu
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or: RowdyB@utopia.hacktic.nl
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for bug reports, comments, bad poetry etc.
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Take note that the latter address may yield slower responses! - RowdyB -
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-------------------------------------------------------------------------
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INDEX
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1 INTRODUCTION
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1.1 About the dialer
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1.2 Features
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1.3 About this manual
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1.4 Disclaimer
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2 USING YOUR DIALER
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2.1 Alpha-numerical editing in general
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2.2 Usage and editing of the Multi-Frequency keys
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2.3 Usage and editing of songs
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2.4 Number scanning
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2.5 Guard banding
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2.6 Sweep test
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2.7 Key logging
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2.8 Miscellaneous functions
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2.8.1 Doorbell mode
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2.8.2 Adapting key buffers
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2.8.3 Program execution
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2.8.4 Resetting your dialer
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2.8.5 Saving your modifications
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3 PROGRAMMING EXAMPLES
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3.1 A word on the presets
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3.2 Programming examples
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3.2.1 Some signalling sequences
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3.2.2 Pulse signalling
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3.2.3 Dividing phreak stages
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3.2.4 Auto-phreaking
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3.2.5 Scanning country codes
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APPENDICES
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A: Trouble shooting
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B: Where to get the Demon Dialer?
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C: Acknowledgements
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1 INTRODUCTION
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1.1 About the dialer
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Early '92 I programmed a quick and dirty tool to play around a bit
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with C5 only. Shortly after that I came in touch with an ingenious
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hardware multi-box; the Demon Dialer (aka Bill's Box) by Hack-Tic
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Technologies. It offers a maximum of flexible control over all types
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of phreaking through easy to learn and smart keycombinations, giving
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audio feedback whenever needed. It features DTMF, C3, C4, C5/R1, R2
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(forward/backward), ATF1, tone slots, a palette of other frequencies
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to be found in automatic telephony and datacommunication, as well as
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guard banding, advanced (nested) macro programming, user-definable
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mark/space timings and frequencies, tone sweep and stepping, number-
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scanning, password protection, RAM battery backup, auto shut off,
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hookswitch control and an RS232 interface.
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It's about the size of a pack of cigarettes.
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I understood I either had to buy it or add some of its features to my
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C5-thingy. Due to a cashflow problem ''at the time'' I chose the
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latter option. As time passed it sort of became most of the features,
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since I started all over again programming an empty, programmable box
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that afterwards could be divided to my personal taste. It again
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offers a maximum of flexible support to phreaking, since basically
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phreaking is a lot of work which one is more inclined to perform when
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well supported (especially when one confuses laziness and life-style,
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as yours truly does).
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For information on how to order a Demon Dialer ($250 US or 350 DM/Gld
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for a very complete do-it-yourself package) see Appendix B.
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This is a =PIZZAWARE= program,
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meaning that if you enjoy working with it, I'd like you to send a
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Pizza Salame Xtra cheese (no anchovy) to the following adress:
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Rowdy Blokland
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Schotdeuren 52
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4241 BS ARKEL
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The Netherlands
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(Bank-account: PostBank (ING) 3366741, The Netherlands)
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If it's likely to arrive cold, I'd rather have *oh surprise* the cash
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equivalent. (Advice: Get 'm cheap!)
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In the tradition of all xxx-WARE clauses I should now waste a few
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lines on a fruitless effort to convince you, the potential user,
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what's so smart about sending money to a total and utter (quite
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probably bad-breathed and perverted as well) stranger. As a matter of
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fact, I don't even know this myself. French kissing an AT&T operator
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sounds like a smarter thing to do.
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Rather than crippling features, withholding manuals or promising
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surprisingly uninteresting sourcecodes or an occasional successive
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version I simply trust you to go bananas completely during a possible
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adrenaline-boost that correct appliance of this program may inflict
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on your body which will make your local pizza-dealer cry happy tears.
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You'll regret it though.
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1.2 Features
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The Rowdy Dialer (RD) offers in short 10 fields of 16 Multi-Frequency
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keys, to be applied in up to 99 songs. All values and attributes with
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respect to songs and MF-keys are fully user-definable,
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thus allowing you to program anything ranging from Morsecode to your
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national anthem. Initially you'd be satisfied with the following
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concerts your RD is already composed with:
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* DTMF
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* CCITT 3 (audio), 4 and 5 (/R1)
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* R2 forward/backward
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* Red-/greenbox
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* ATF1
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* Tone slots
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* Several line- and other signals
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and features a.o.
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* Number scanning
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* Guard banding
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* Sweeptest
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* Frequency stepping
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* Song programming and invocation
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* Preprogrammable songkeys (10*10)
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* User-definable timings/frequencies per song/MF-key
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* Direct marktime/volume stepping
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* (Password protected) key logging
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* Program execution
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presented through a macho and informative graphical interphace.
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1.3 About this manual
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This manual is NOT a manual on phreaking as such. There's already a
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truckload of files out there supplying information on history,
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folklore, terminology, box-schemes etcetera w.r.t. this, and your
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local technical library can also be of help. In this textfile your
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dialer's various functions and possibilities are described step-by-
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step and how to make good use of them. All keycombinations have been
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chosen with some logic and all input is made foolproof - or so I'd
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like to think ..
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Btw: don't bother to memorize what keypress goes with what function,
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it's all runtime available in short under <HELP>.
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1.4 Disclaimer
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"The amount of time people waste to get something for nothing is
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highly remarkable" - Robert Lynd
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The user of this program is solely responsible for his or her use of
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it - legal or illegal. I'm merely a poor toolmaker and simply cannot
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and will not take any responsibility. This argument works for the
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arms industry, so why wouldn't it do the job for me! (Of course, I do
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lack relevance in the highest echolons of any government.)
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As a matter of fact, I would strongly advice against use of this tool
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at all. It has rumour that getting a job and paying your bills might
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work as well, but I wouldn't know.
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2 USING YOUR DIALER
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2.1 Alpha-numerical editing in general
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All alpha-numerical editing is taken care of by GFA's standard
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formatted-input routine. Unfortunately it is not fit for a graphical
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environment and has the irritating habit of adding 1 or 2 blanks when
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entering/editing fullsized input; temporarily giving the interface a
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rather silly look. On the other hand it's quite a luxurious input
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routine and making one of my own just to meet this would be too big
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an effort.
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DO NOT report this to me as a bug! After entering your string all
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possible damage will be restored.
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The editing commands are:
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<ARROW LEFT/RIGHT> Move cursor left/right
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<ARROW UP/DOWN> Move cursor to begin/end
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<CTRL><ARROW LEFT/RIGHT> Move cursor to begin/end
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<INSERT> Toggle insert/replace mode
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<BACKSPACE> Delete character left of cursor
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<DELETE> Delete character right of cursor
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<ESCAPE> Clear string
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<ENTER/RETURN> Enter string
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Don't worry about entering incorrect, out-of-range or no data.
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Depending on the situation the data will be mapped in range (absolute
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value or bottom/top of range etc.), replaced by the last value (e.g.
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when entering nothing) or an error message will appear.
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Accidentally including control-codes in your comments on songs, MF-
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keys or fields however can sometimes fuck up the look of the
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interface; so don't. If you did, remove them. When needed, you can
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redraw the entire screen by pressing
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<CONTROL><R> Redraw screen
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2.2 Usage and editing of the Multi-Frequency keys
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The use of the MF-keys is to both define (interregister-)signals for
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use in songs and to (a.o.) provide a way to explore line signalling
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directly. Especially immediate marktime- and volumestepping can be of
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great help w.r.t. the latter.
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The attributes of each Multi-Frequency key (MF-key) are two frequen-
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cies, its duration or marktime, its volume and a twelve character
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comment. Each MF-key corresponds to the numerical keyboard as shown.
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The frequencies and marktime are printed on each key, the volume and
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comment show up in the infobox at the right when pressing an MF-key.
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As said before, there are 10 fields of 'em. Simply use the <ARROW
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LEFT/RIGHT> keys to change to a previous or next field. When you get
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to know the fields it's often handier to jump directly to the one you
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need. For this press <CLR HOME> and enter the desired fieldnumber.
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Different signalling systems are spread over different fields when-
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ever possible to facilitate simple field-usage in songs (see below).
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For clarity each field is commented upon in the upper infobox to the
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right.
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How to change an MF-key's attributes:
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Frequencies: Can be changed by entering a value directly or by
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frequency stepping.
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First press <CTRL> together with the MF-key you wish to
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edit to enter the MF-key editing box at the left. Freq1
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can now be changed. Press <ENTER> or <RETURN> to enter a
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new value. The allowed range is 31 .. 4000 Hz; from the
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lowest frequency the ST can produce to the upper border
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in outband signalling (voiceband 300-3400, outband 3400-
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4000). Entering 0 Hz is also allowed and interpreted as
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silence. Pressing <CTRL><ARROW LEFT/RIGHT> swaps from
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freq1 to freq2 and back. This swapping takes place
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automatically when entering values directly, in order to
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facilitate entering lengthy multi-frequency tables.
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To decrease/increase a frequency with a certain stepsize
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(default 10 Hz) press <ARROW LEFT/RIGHT>. This frequency
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stepping can be made audible by pressing <A> which
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toggles audio on/off, using the MF-key's volume. Press
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<S> to change the current frequency's stepsize (Range: 1
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.. 999 Hz).
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Btw: Make sure the two frequencies are not identical -
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soundwave interference may muffle the volume from time
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to time.
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Marktime: Can be changed in three ways: Entering a value via the
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MF-key editing box, entering a new value directly or
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changing it according to a desired stepsize.
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When already editing frequencies in the MF-key edit box,
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changing the marktime as well can be done by pressing
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<CTRL><ARROW DOWN> (Range: 1 .. 999 milliseconds).
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Entering a new value directly is done by pressing
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<SHIFT><MF-key>.
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When exploring the timing required for a certain line
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signal (e.g. starting low and increasing with a certain
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step) it's best to use the <+/-> keys to achieve fast
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results. The MF-key you pressed last (actually: about
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which info is updated in the info box - eventual field
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changes are taken into account as well) will be affec-
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ted. Initially the <+/-> keys are switched off. Activate
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them by pressing <CTRL><+/->. This toggles them on/off,
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indicated by the bold or grey look of 'em. (ADVICE: When
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you don't need them, switch them OFF. You don't want to
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accidentally change timings unseen).
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Default the stepsize of the <+/-> marktimes is 5 ms.
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Press <RIGHT SHIFT><+/-> to change either one (Range: 1
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.. 99 ms).
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Volume: Can only be altered by use of the <+/-> keys. Press
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<LEFT SHIFT><+/-> to toggle between MARK or VOLUME
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stepping (only when they're active). As with markstep-
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ping the MF-key last pressed is affected. Range is 0 ..
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15 (logarithmically scaled of course, to match human
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hearing).
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Comment: The comments on both a single MF-key and a field of MF-
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keys can be changed. Press <ALT><MF-key> to change the
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former or <CTRL><ARROW LEFT/RIGHT> to change the latter.
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Comments can be up to 12 characters. Range is technotalk
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to sexual explicits, yet unnecessary and gross abuse is
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recommended.
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ONE IMPORTANT EXCEPTION:
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If one wishes to play C4 signals one should formally use songs under
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preprogrammed keys (see below), since those signals are combined
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ones. Nevertheless, an obscure option has been added to enable you to
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play C4 signals comfortably via MF-keys:
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* When the first three characters of the comment field match 'C4:',
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the RD will overrule the timing and frequencies belonging to that
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MF-key. Instead, the following characters immediately after 'C4:'
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will be examined and played:
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Char: Freq1: Freq2: Marktime:
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P 2040 2400 150
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X 2040 0 100
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Y 0 2400 100
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Q 2040 0 350
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R 0 2400 350
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x 2040 0 35
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y 0 2400 35
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(Actually, Q and R should read XX and YY to match the notation used
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in CCITT Rec. Q.121; I prefer straightforward parsing though.)
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The interpretation of these C4 strings is, of course, case-sensi-
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tive. The first character not matching one in the table marks the
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end of the sequence. To improve readability, this can e.g. be a
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blank followed by a remark, as done in field #1. (Btw: MF-
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characters in a song still refer to the normally specified
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frequencies and timing of an MF-key (see below).)
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Intervals are 35 ms and the MF-key's volume still applies.
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Of course, unless low-cost timetravel is added to the list of human
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rights real soon, I could have saved myself the trouble of implemen-
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ting this.
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2.3 Usage and editing of songs
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To create and play strings of (combined) signalling systems the use
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of macro's or songs is provided. In the songbox at the bottom of the
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screen you'll find the songlist. You can scroll it using the <ARROW
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UP/DOWN> keys. Scrolling 10 songs up/down at once is done by pressing
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<CTRL><ARROW UP/DOWN>, and jumping directly to the top or bottom of
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the songlist by pressing <SHIFT><ARROW UP/DOWN>.
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Each song can contain up to 25 characters that may refer to the MF-
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keys, indicate song invocation(s), song expansion or field overruling
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(see below).
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Attributes per song are a fieldnumber (FLD:), mark- (MRK:) and
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spacetiming (SPC:) and an 18 character comment. The fieldnumber
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indicates the field the MF-characters correspond with, the mark- and
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spacetime indicate the duration of the signals and their intervals
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(in milliseconds). If FLD: or MRK: are printed grey instead of bold,
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their specifications do not apply. Instead, the currently displayed
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field or the marktimes of the MF-keys themselves are used, respecti-
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vely.
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Playing the current song can be done by pressing <INSERT>.
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It's also possible to preprogram keys 1 .. 0 on the main keyboard
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with your favorite songs. This way you can directly play songs
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without having to look them up first in the songlist:
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- Scroll to the song you wish to preprogram. Now simply press <CTRL>
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and one of the <1 .. 0> keys you want to store it under.
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- When pressing <1 .. 0>, the stored song is jumped to and played
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immediately. If you just want to check what song is under what key
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and don't want to hear a (possibly lengthy, e.g. ATF1-) song; press
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<CTRL><D>. This toggles Direct play on/off. Songs will now only be
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played by either pressing the <1 .. 0> key again (after the jump),
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or by pressing <INSERT>.
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- Actually, there are 10 groups of keys <1 .. 0>, each keygroup again
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indexed by <1 .. 0>. To change from one keygroup to another just
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press <ALT><1 .. 0>. Initially keygroup 0 is active.
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Of course one most likely won't need 10*10 preprogrammable keys as
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such. The idea is to spread several phreakstages over a few keys, in
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order to facilitate repeating a stage whenever needed,
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(e.g. Key 1: DTMF sequence; Key 2: Line signal A; Key 3: Line signal
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B; Key 4: Interregister signal sequence (Keys 5 .. 0: as Key 4))
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and several of these (possibly similarly looking) phreakstages can in
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turn be divided among different keygroups.
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Changing a song's attributes:
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Fieldnumber: To toggle specified field usage on/off press <CTRL><F>.
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When off, the currently displayed field applies instead
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of the specified fieldnumber.
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To change the fieldnumber press <F> (Range 0 .. 9).
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Marktime: To toggle specified marktime usage on/off press
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<CTRL><M>. Press <M> to change the marktime (Range 1 ..
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999 ms). When switched on you can easily adapt the mark
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time of signals needing a uniform length only, otherwise
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you'd rather switch it off and use the MF-key mark times
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instead.
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Spacetime: Press <S> to change the spacetime (Range 7 .. 999 ms).
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Information: Press <I> to change the information on a song. Up to 18
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characters can be entered (For range see MF-key's
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comment attribute).
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Song itself: To change the contents of a song press <RETURN>, after
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which up to 25 characters may be entered.
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Allowed entries are:
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- All MF-key characters, where an E represents the
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ENTER-key.
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- Song invocation: is established by entering an 's'
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followed by a two-digit song number (Range 01 .. 99).
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Invocations can be inserted repeatedly and anywhere
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within a string. As with playing an MF-character, the
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invoked song is bordered by the space times of the
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invoking song. Invocations allow you to e.g. combine
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different signalling systems with different timings,
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to create pulse signals with an interval of their own
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within a sequence having larger intervals, to invoke a
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stringpart that is subject to number scanning (see
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below) etcetera.
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Invoking an undefined song has the same effect as
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leaving the invocation out.
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- Song expansion: To expand a song simply enter a ';' at
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the end of your (possibly empty) string (in fact,
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it'll always be at the end - what tails it is
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removed). The song is now concatenated to the next
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one. Effectively this is parsed up to 4 times. Apart
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from possibly using this as an alternative to song
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invocation, it's main purpose is to enable you to
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enter up to 5*25 characters. If those are e.g. 40
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successive invocations (8 times 'sXX' plus a ';' in 5
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concatenated songs) this yields up to 5*8*25 or 1000
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characters (plus one, if you end the last song with a
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character instead of a ';') - especially of use to
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ATF1.
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When concatenated, the space time between the last
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signal of song N and the first signal of song N+1 is
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equal to the space time of song N. An empty song
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containing only the expansion character transparently
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glues the previous and next song together.
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- Field overruling: To pick an MF-character from a field
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different from the specified (or current, when FLD: is
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switched off) field, enter an 'f' followed by the
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desired fieldnumber (0 .. 9) and the MF-character.
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Everything following this will be subject to the
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normal field specification again. This allows you to
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use signals not included in the same field, such as
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signals not fitting the 16 MF-key field or pauses to
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be found in line signalling field #8.
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Of course, this can also be solved by use of invoca-
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tion, expansion, or even reprogramming a field, pen-
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ding the situation. Overruling will come in handy
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though.
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Restrictions with respect to song programming are:
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- Songs may not invoke themselves, simply to avoid loops.
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- Nesting may only be 1 level deep, i.e. an invoked song may not
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contain further invocations, and
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- An invoked song may not be expanded.
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Since a song is parsed and transformed to a bunch of arrays just
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before playing, these restrictions make sure there's a predictable
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limit to the sequence to be played (1001 signals).
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Apart from that, you'll have a hard time making up a phreaksequence
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that couldn't be realized using the offered flexibility - if at all !
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You DON'T need to bother memorizing these restrictions yourself; your
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RD keeps track of whether a song is invoked by others and howmany
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times, whether a song may be invoked, expanded or invoke others
|
|
etcetera. If you enter out-of-range, invalid or conflicting data the
|
|
RD will display the erratic input within the string in grey and sing
|
|
a two-tone beep alert. Pressing <HELP> will show a few tiny
|
|
helpscreens recapitulating the correct songformat, and removes the
|
|
erratic parts upon exiting; pressing <RETURN> will simply remove the
|
|
errors at once. (Btw: Input is not case-sensitive, solely to improve
|
|
readability an e/E is always mapped to uppercase and f/F, s/S to
|
|
lowercase.)
|
|
|
|
TWO IMPORTANT EXCEPTIONS:
|
|
|
|
As mentioned before, a song's minimum spacetime is 7 ms. This is
|
|
simply the smallest amount of time the compiled code uses to
|
|
initialize the next signal's frequency, volume and timer routines.
|
|
Shorter, say near-zero spacetimes would involve a totally different
|
|
approach by use of an assembler.
|
|
In practice, you'll never need spacetimes even close to 7 ms. Only
|
|
ATF1 and tone slots (100 baud and 70ms marktime respectively) don't
|
|
need a spacetime whatsoever. For those two the following exceptions
|
|
have been implemented:
|
|
|
|
* To play a song at 100 baud (10ms mark, no intervals), make sure the
|
|
first five characters of the information on a song match 'ATF1:'.
|
|
Mark and spacetiming are now overruled, and only freq1 of an MF-
|
|
character is taken into account - all other parameters still apply.
|
|
|
|
* To play tone slots, simply type 'TSL:' at the beginning of the
|
|
information field. Marktime is now 70ms with zero spacetime, songs
|
|
are further dealt with as with 'ATF1:'.
|
|
|
|
|
|
2.4 Number scanning
|
|
|
|
Songs that consist of digits only can be sequentially in- or
|
|
decreased with a specified stepsize for scanning purposes. Also a
|
|
part of a (not necessarily numerical) song can be made subject to
|
|
scanning, in behalf of e.g. scanning interregister subscriber num-
|
|
bers, countrycodes, routingcodes etc.
|
|
When pressing <N>, number scanning is applied to the current song.
|
|
The songparameters above the songbox are now replaced by the current
|
|
play song number and stepsize. The play song number indicates the
|
|
song that is played during scanning. This can be a song different
|
|
from the one to be scanned, in which case the latter should be part
|
|
of the play song by means of invocation or expansion. (Btw: the
|
|
scanned song may contain max. 12 digits (and an eventual semi-colon
|
|
at the end); this in connection with straightforward integer calculus
|
|
- dealing with larger numbers would be useless anyhow, until
|
|
automatic interplanetary telephony is a fact.)
|
|
During this mode the following controls rule:
|
|
|
|
<ARROW LEFT/RIGHT> Decrease/increase number with the current
|
|
stepsize. This never affects the amount of
|
|
digits in a number; 000..0 is followed by
|
|
999..9 and vice versa. Initially, the play
|
|
song is played each time as well.
|
|
<A> When you wish to in- or decrease the number
|
|
several times without playing the play
|
|
song, toggle <A>udio on/off.
|
|
<ARROW DOWN> or <INSERT> both play the current number again, in case
|
|
it needs to be repeated. <INSERT> simply
|
|
matches the usual play key - see what suits
|
|
you.
|
|
<P> Enter a new play song number (Range 1 ..
|
|
99). Initially the play song number always
|
|
matches the song number of the song subject
|
|
to scanning. Having changed this number
|
|
once will fix it on your own choice perma-
|
|
nently.
|
|
<S> Enter a new stepsize. Range is 0 .. 999,
|
|
yet the number of digits can never exceed
|
|
those of the scanned number. The stepsize
|
|
remains fixed unless you'll scan another
|
|
song with lesser digits - the stepsize will
|
|
then be adjusted accordingly.
|
|
<1 .. 0> To combine scanning and phreaking, the
|
|
preprogrammable keys of the currently
|
|
active keygroup are also available. (This
|
|
of course implicitly offers a second way to
|
|
define a play song.)
|
|
|
|
When exiting this mode, the number song is fixed at the last scan
|
|
value.
|
|
|
|
|
|
2.5 Guard banding
|
|
|
|
Adding an extra tone when signalling may fool filters into believing
|
|
you are speaking rather than signalling, and thus will not disconnect
|
|
your link. Such a tone is called a guard tone. You can choose from
|
|
and redefine up to three guard tones (G1, G2 and G3) by means of
|
|
frequency stepping or entering the desired value, each having its own
|
|
volume. A guard tone can be played either continuously or only when
|
|
signalling.
|
|
To toggle the current guard tone on/off press <G>. The field in the
|
|
infobox at the right above which 'CURR. GUARD:' is printed displays
|
|
which guard tone is active. Also the GUARD switch is set Y/N
|
|
accordingly. Initially the tone will be played continuously, indica-
|
|
ted by a (C) between brackets tailing the GUARD switch. Playing it
|
|
only during an MF-key's marktime or a song's mark- and spacetime is
|
|
achieved by pressing <CTRL><G>. This toggles between continuous or
|
|
marktime play of a guard tone, indicated by a (C) or an (M) behind
|
|
the GUARD switch respectively.
|
|
|
|
Picking or redefining a guard tone:
|
|
|
|
<C> is pressed to enter the guard tone editing pop-up
|
|
box, and must be read as <C>hoose guard tone.
|
|
<G> still applies and toggles guard tone on/off, and
|
|
<CTRL><G> still toggles continuous/marktime play.
|
|
<ARROW UP/DOWN> keys make you choose between G1, G2 or G3. The
|
|
currently active guard tone changes accordingly.
|
|
<ARROW LEFT/RIGHT> de-/increases the current guard tone with the step
|
|
size shown in the upper-right corner. Each guard
|
|
tone has its own step size. Press
|
|
<S> to enter a new step size (Range 1 .. 999 Hz).
|
|
Default G1, G2 and G3 have step sizes 25, 50 and
|
|
100 HZ respectively.
|
|
<ENTER> / <RETURN> allows you to enter a new guard tone frequency.
|
|
Range is 31 .. 4000 Hz.
|
|
<V> toggles between the frequency- and volume list of
|
|
G1, G2 and G3. When the latter is shown, <ARROW
|
|
LEFT/RIGHT> keys de-/increase the current guard's
|
|
volume (ranging from 0 to 15) with step 1.
|
|
|
|
|
|
2.6 Sweep test
|
|
|
|
To scan a line for filters the full ST's in- and out-band range (31
|
|
to 4000 Hz) can be sounded, during which the callee should listen for
|
|
gaps. Pressing <T> makes the sweep-test box appear. The following
|
|
controls now apply:
|
|
|
|
<ARROW LEFT/RIGHT> changes the direction of the sweep. When the upper
|
|
or lower border is reached the direction always
|
|
swaps.
|
|
<ARROW DOWN> holds the sweep at the current frequency.
|
|
<+/-> in-/decreases the sweep delay (Range: 0 to 99)
|
|
both when sweeping and when holding the sweep.
|
|
Default is 3, yielding a sweep that takes about 16
|
|
seconds back and forth.
|
|
|
|
* As the sweep increases the frequency resolution displays conside-
|
|
rable gaps. This is due to the way the ST's soundchip (Yamaha YM
|
|
2149 or the identical AY-3-8910 from General Instruments) generates
|
|
its frequencies. The three voices or sound-generators each have an
|
|
output frequency of 125 Khz that can be divided by a 12 bit period.
|
|
This yields a frequency range of 31 to 125000 Hz, with a rather
|
|
restricted resolution of (125000/1 .. 4095) Hz ; part of which are
|
|
the ones used during the sweep.
|
|
As a result of this, any desired frequency is actually
|
|
125000/ROUND(125000/frequency) Hz. Pending the desired frequency,
|
|
deviations under 1000 Hz can range from 0 to 5 Hz (10 is the
|
|
largest step, and frequencies in between are automatically rounded
|
|
to the nearest (higher or lower) resolution point); deviations in
|
|
the 1000-2000 Hz can range from 0 to 16 Hz and at the upper border
|
|
of 4000 hz the highest step is 118 Hz (deviation up to 59 hz).
|
|
This need not be a problem for phreaking purposes. Central Offices
|
|
(CO's) can theoretically deal with deviations of up to 1.5 %,
|
|
whereas e.g. the ST's C5 signals have deviations 0.11 to 0.64 % and
|
|
R2 has deviations 0.11 to 0.43 %.
|
|
|
|
To have an MF-key's frequency deviation displayed press <V> to toggle
|
|
this display on/off. Now each time an MF-key is played the deviations
|
|
in [+/- Hz] of freq1 and freq2 are printed in the MF-key edit box.
|
|
Note that it is useless to attempt to use the actual ST's frequen-
|
|
cies: desired frequencies are automatically mapped to the nearest
|
|
(higher or lower) resolution point and readability would just be
|
|
unnecessarily compromised.
|
|
|
|
|
|
2.7 Key logging
|
|
|
|
Suppose you guessed a Voice Mail Box access right, stumbled upon a
|
|
phun number, hacked an answering machine or phreaked a CO success-
|
|
fully by chance - and forgot what exactly it was you did. Logging
|
|
your key strokes would come in handy then, which is exactly what
|
|
happens when the 'LOGGING' switch is set to 'Y' (default). The last
|
|
256 MF-key strokes or song plays (whether via the songlist, a
|
|
preprogrammed keygroup or during number scanning) are recorded, as
|
|
well as the idle times in between. (Btw: In case you wonder why 256:
|
|
Don't. I chose this size at random, found it to be not too cheap nor
|
|
overabundant, and gave it a power-of-two-touch to make dyed-in-the-
|
|
wool users nod with mundane understanding rather than ask embarassing
|
|
questions.)
|
|
Let's have a look at the log report:
|
|
|
|
<R> is pressed to enter the report, which has log
|
|
entries numbered from 0 to 255. When entering
|
|
the report, always the most recent log entry is
|
|
displayed.
|
|
<ARROW UP/DOWN> keys scroll the report one entry up/down.
|
|
<CTRL><ARROW UP/DOWN> scrolls the report ten entries up/down.
|
|
<SHFT><ARROW UP/DOWN> jumps to the tail or head of the report.
|
|
<ESC> exits (- as it does from all subroutines).
|
|
|
|
As you can see the standard format of a log entry is:
|
|
|
|
"LOG: KEY: FLD: FRQ1: FRQ2: MARK: VOL: IDLE:"
|
|
|
|
which actually is the format of a logged MF-key, and indicates from
|
|
left to right:
|
|
|
|
LOG : the number of the log entry, ranging from 000 to 255, where
|
|
lower numbers mean going back in history,
|
|
KEY : the symbol of the pressed MF-key,
|
|
FLD : the active fieldnumber during the keystroke,
|
|
FRQ1: the value of freq1 at the time, in case it's been altered
|
|
meanwhile,
|
|
FRQ2: ditto for freq2,
|
|
MARK: the MF-key's mark time, e.g. of interest when stepping mark
|
|
times of a line signal (btw: when doorbell mode is active then
|
|
the doorbell time is recorded - see below),
|
|
VOL : the MF-key's volume at the time, concluded by
|
|
IDLE: the idle time between log entry n and log entry n+1, formatted
|
|
as "seconds:milliseconds", e.g. of use to check the timings you
|
|
used when phreaking using a preprogrammed keygroup or other-
|
|
wise. The largest interval measured is 99:999 ms; everything
|
|
exceeding that is fixed at that number. When phreaking,
|
|
intervals are never that big - if a CO allows you to play
|
|
around with an uncompleted line longer dan 1.5 minutes at all.
|
|
|
|
To convert MF-key strokes to songs according to the logged data
|
|
in a straightforward manner, the actual silences ('space
|
|
times') between the signals are measured, NOT the key stroke
|
|
intervals.
|
|
|
|
In the following situations this precise format does not apply and is
|
|
treated otherwise:
|
|
|
|
- MF-keys instructed to play C4 signals as demonstrated at the end of
|
|
paragraph 2.2 do not sound freq1 and freq2, nor do they use the MF-
|
|
key's mark time. Therefore information on FRQ1:, FRQ2: and MARK:
|
|
for these log entries is replaced by the contents of the MF-key's
|
|
comment field, which contains the used C4 string.
|
|
- Played songs are indicated under KEY: as SXX, with XX being the
|
|
song number. FLD: is filled in pending the type of field specifica-
|
|
tion used (see paragraph 2.3). Since a song has no specific
|
|
frequencies or volume only the mark and space time are recorded
|
|
(unless mark time specification is switched off, in which case that
|
|
log entry field reads 'OFF').
|
|
- Songs with timings overruled by an ATF1 or tone slot timing, as
|
|
discussed at the end of paragraph 2.3, have a log entry matching
|
|
'ATF1 Timing [100 bit/s]' and 'Tone Slots [70ms MARK]' respec-
|
|
tively.
|
|
|
|
Switching logging on/off: Suppose you wish to complete a few
|
|
international calls but don't want the phreakholes you worked so hard
|
|
for displayed on the screen, e.g. in case your younger brother -
|
|
always seeking for a way to become immensely popular at high school -
|
|
pretends to string his shoes right behind your back. Unless he has
|
|
perfect hearing, pressing <L> may offer some minimal protection. This
|
|
toggles logging on/off, and causes the following to happen:
|
|
|
|
- The MF-key editing box, the information fields on MF-keys in the
|
|
info box at the right and the information in the song box will no
|
|
longer be updated and therefore turn grey. All editing functions
|
|
with respect to this information are now blocked.
|
|
- MF-keys no longer light up when pressed.
|
|
- Dialer reset, disk I/O, exiting the RD, calling the log report and
|
|
program execution (for some of these, see below) are blocked as
|
|
well, to prevent your relative from saving your ROWDY_DL.DAT
|
|
datafile on a disk of his own, checking it under GEM, nosing about
|
|
your logged activities or simply executing your dialer again
|
|
through program execution respectively. Instead, the two-tone beep
|
|
alert is sung.
|
|
- And last but not least, the log report itself is no longer updated.
|
|
|
|
Functions with respect to preprogrammable keygroups etcetera are
|
|
still active, allowing you to phreak as usual yet without visual
|
|
feedback.
|
|
In case you need to leave your ST you can switch logging off pressing
|
|
<CTRL><L> instead. You are now prompted for a case-sensitive, alpha-
|
|
numerical password that can contain up to 15 characters, echoed as
|
|
X's. Only <BACKSPACE> applies as an edit key. Avoid typo's and
|
|
remember what you entered, since you won't be asked twice or anything
|
|
- way to annoying. When switching logging on again pressing <L>,
|
|
you'll be prompted for it again. Upon forgetting your password, reset
|
|
your ST or ask your brother in detail how his crack-patch works.
|
|
Again, this only offers a minimal run-time protection. Having your
|
|
harddisk password protected or encrypting your disks to make your
|
|
datafile unaccessible would still be necessary. (I've elaborated a
|
|
bit on a possible encryption of the datafile to go with the password
|
|
and concluded it'd be best not to wind up in a tiresome and fruitless
|
|
arms race with my fellow c0de hackers.)
|
|
|
|
The most recently played MF-key and song information are updated when
|
|
switching logging on again.
|
|
|
|
|
|
2.8 Miscellaneous functions
|
|
|
|
2.8.1 Doorbell mode
|
|
|
|
Pressing <D> toggles the doorbell mode on/off (default off). When
|
|
on, all MF-keys are played whilst pressed. The time you held down
|
|
an MF-key is counted in the 'D.TIME:' field at the right, in
|
|
milliseconds. (In combination with a silent (0 Herz or volume) MF-
|
|
key this could also be used as a simple stopwatch, e.g. when
|
|
measuring CO responses - of use only for those who can afford a
|
|
watch NOT having that function.) This allows you to signal longer
|
|
then 999 ms whenever needed.
|
|
|
|
* During the doorbell mode all keypresses are scanned about 50
|
|
times a second (thus giving the D.TIME a resolution of about 20
|
|
ms) without a pause after the first hit. As an unfortunate result
|
|
of this, all input routines that prompt for input directly after
|
|
a single keypress or -combination would immediately be filled to
|
|
the brim with a (control-)character. Changing the keyboard rate
|
|
and clearing the buffer can't meet this problem - the keyboard
|
|
processor only takes the new parameters into account with respect
|
|
to keypresses following the current one.
|
|
|
|
Rather than facing this irritating side effect I chose to unele-
|
|
gantly BLOCK all input routines yielding a prompt after a single
|
|
keypress. Those comprise song editing, comment editing, direct
|
|
mark time editing and changing the <+/-> mark steps. Remember
|
|
this when using the doorbell mode !
|
|
|
|
All two-step input (e.g. via the MF-key edit box or other pop-up
|
|
boxes) is not affected by this side effect and thus normally
|
|
available. All other functions as <+/-> stepping, switching func-
|
|
tions Y/N etc. are buffered from the high sample rate, resulting in
|
|
a slightly different 'feel'.
|
|
Preferrably, you'd switch the doorbell mode off when not needed.
|
|
|
|
Changes made to an MF-key's mark time will of course only be
|
|
effective when leaving this mode.
|
|
|
|
|
|
2.8.2 Adapting key buffers
|
|
|
|
Controls with respect to MF-key and song usage can be influenced by
|
|
toggling the BUFFER switch Y/N by pressing <B>. Swapping between
|
|
BUFFER1 and BUFFER2 to reach their setting is done by pressing
|
|
<CTRL><B>.
|
|
|
|
BUFFER1: is the MF-key buffer. Subsequently playing MF-keys or
|
|
ploughing through MF-key fields is buffered when switched
|
|
on.
|
|
|
|
BUFFER2: is the song buffer. Playing preprogrammed keygroups or the
|
|
current song, as well as in-/decreasing, repeating and
|
|
playing keygroups during number scanning are buffered.
|
|
|
|
The settings of those two is totally subject to personal taste.
|
|
Usually buffering commands gives a smooth feel, but if you haven't
|
|
grown used to the controls yet and find yourself repeating signals
|
|
by mistake too frequently, switch either one off.
|
|
|
|
The buffers are switched off automatically when the doorbell mode
|
|
is switched on - the direct and high key sample rate would just
|
|
stuff them beyond reason. Their original switch settings are
|
|
restored upon quitting the doorbell mode.
|
|
|
|
Both buffers are active by default.
|
|
|
|
|
|
2.8.3 Program execution
|
|
|
|
In case you wish to possibly read/update a scanlist when phreaking
|
|
or control your modem after hooking up to a carrier, executing an
|
|
editor or a terminal program whilst keeping the RD resident is
|
|
possible by means of program execution. Pressing <E> makes a
|
|
fileselector box pop up, showing the contents of the current
|
|
drive's root directory. Simply seek your favorite executable and
|
|
double-click it. (The created path will be stored for later use.)
|
|
Upon finishing you'll return to the RD as it was.
|
|
(Using a Kuma Switch-oid tool can of course do the same for you !)
|
|
|
|
Executing resident programs is not allowed.
|
|
|
|
|
|
2.8.4 Resetting your dialer
|
|
|
|
Pressing <F2> shows the reset box. Use the <ARROW UP/DOWN> keys to
|
|
choose the data set you wish to reset, and confirm with <RETURN>.
|
|
By doing so your RD resets to (part of) the data it initializes
|
|
with when starting up.
|
|
ALL CHANGES you made with respect to the chosen data set WILL BE
|
|
*LOST*; if needed SAVE your changes first (see below).
|
|
|
|
The three data sets comprise:
|
|
|
|
ALL : current field 0, field comment, MF-key attributes: freq1,
|
|
freq2, mark times, volumes, comment, song attributes:
|
|
songs, their fields and mark times (plus setting on/off),
|
|
space times, song comment, current song 01, preprogrammed
|
|
keygroups, current keygroup 0, guard attributes: frequen-
|
|
cies, volumes, step sizes and current guard G3.
|
|
|
|
SONGS : Song attributes: songs, fields and mark times, space times,
|
|
song comment, current song 01, preprogrammed keygroups,
|
|
current keygroup 0.
|
|
|
|
MFKEYS: current field 0, field comment, MF-key attributes: freq1,
|
|
freq2, mark times, volumes, comment.
|
|
|
|
The values of 'ALL' match those in the initial 'ROWDY_DL.DAT'
|
|
datafile that came with the dialer. (I furnished the dialer
|
|
according to my own taste using the various editing functions
|
|
described, then saved and merged it with the source in the same
|
|
format.)
|
|
|
|
For comments upon these presets see chapter 3.
|
|
|
|
|
|
2.8.5 Saving your modifications
|
|
|
|
The disk I/O box pops up by pressing <F1>. As with resetting the
|
|
<ARROW UP/DOWN> keys apply for choosing, and <RETURN> for executing
|
|
a disk command. The choices are:
|
|
|
|
LOAD : Loads all data from the datafile 'ROWDY_DL.DAT', to be
|
|
present in the (sub)directory you executed the RD from.
|
|
When it's missing the beep alert will sound whilst printing
|
|
'NO.DAT'.
|
|
The restored data equals the summary concerning data set
|
|
'ALL' in paragraph 2.8.4., except the information on
|
|
current field, current song, current guard and current
|
|
keygroup. Those four parameters contain the values active
|
|
when you last saved your changes; thus allowing you to pick
|
|
up phreaking exactly where you left it.
|
|
|
|
SAVE : Saves all data as described above to 'ROWDY_DL.DAT'. Your
|
|
last save (if present) will be moved to a last but one
|
|
version named 'ROWDY_DL.BCK' for eventual backup recovery.
|
|
|
|
VERIFY: Compares the contents of the datafile with the current
|
|
settings, except for the relatively unimportant (cosmetic)
|
|
parameters: current field, current song and current guard.
|
|
'NO.DAT' appears when the datafile is missing, 'NOT OK'
|
|
when the datafile doesn't completely match the settings and
|
|
'OK' when it does.
|
|
|
|
|
|
3 PROGRAMMING EXAMPLES
|
|
|
|
3.1 A word on the presets
|
|
|
|
This section comments upon the initial values your RD starts up with
|
|
or was resetted to. Since the various frequencies and their meanings
|
|
are displayed quite clearly through the user interface, frequency
|
|
tables and redundant commentary have been left out. Though subject to
|
|
my personal taste, you'll find the current division quite workable.
|
|
|
|
FIELD 0: Contains CCITT #5 signals. 14 Interregister and 2 line
|
|
signals are present. The missing 'code 12' signal (delay
|
|
operator) can be found in field 4, and could (when program-
|
|
ming a song) be invoked by means of field overruling.
|
|
|
|
FIELD 1: Is programmed with CCITT #4 forward signals as demonstrated
|
|
in paragraph 2.2. Again the four missing (interregister)
|
|
signals (two space codes, code 12 and incoming half-echo
|
|
suppressor required) are stored at field 4.
|
|
Backward signals are not included. For those interested they
|
|
are:
|
|
|
|
Proceed-to-send (Terminal) X
|
|
Proceed-to-send (International transit) Y
|
|
Number-received P
|
|
Busy-flash PX
|
|
Answer PY
|
|
Clear-back PX
|
|
Release-guard PR (read: PYY)
|
|
Blocking PX
|
|
Unblocking PR (read: PYY)
|
|
|
|
The specified single frequencies on these MF-keys (overruled
|
|
by the C4 specification and thus for use in songs only) are
|
|
the tone slot frequencies.
|
|
|
|
FIELD 2: Contains all R2 forward interregister signals, and
|
|
|
|
FIELD 3: contains all R2 backward interregister signals. The forward
|
|
signals can have three and the backward two possible
|
|
meanings (group 0, I or II and group A, B respectively),
|
|
pending the phase of the quite talkative protocol (which is
|
|
way too comprehensive to elaborate on in this document).
|
|
|
|
FIELD 4: Apart from the missing C4 and C5 signals as mentioned above,
|
|
this field contains the C4 signal elements as shown in the
|
|
table in paragraph 2.2 for use in songs, a 2280 Hz MF-key
|
|
for use in C3 sequences and the bit 0 and 1 frequencies for
|
|
use in ATF1 (B-Netz) bitstrings.
|
|
|
|
FIELD 5: Contains three types of redbox frequencies for different
|
|
systems (named ACTS, IPTS and non ACTS) and the greenbox
|
|
frequencies alert, coin collect, coin return and ringback.
|
|
|
|
The remainder of this field as well as both FIELD 6 and
|
|
FIELD 7 are filled with modem tones, subscriber information
|
|
tones and several other frequencies that may be of use to
|
|
fool operators (some should be combined first), make shy
|
|
modems answer, reprogram private switches or whatever use
|
|
you would have for them.
|
|
When for some reason you feel like 'adding' other signalling
|
|
systems (better: shuffling the current division on behalf of
|
|
e.g. Italian OOB-MFC, French SOCOTEL, German IKZ 50 or C4
|
|
backward stuff), field 6 and 7 are probably most appro-
|
|
priate. You can always regain the original values by
|
|
resetting your RD as illustrated in section 2.8.4.
|
|
|
|
FIELD 8: is filled with several line signals, to be used in various
|
|
signalling systems. To fill the comment fields highly
|
|
uncreative and straightforward meanings have been added.
|
|
|
|
FIELD 9: concludes this summary and contains all DTMF (or Touch Tone)
|
|
frequencies. The use of A, B, C and D tones can be stumbled
|
|
upon in a number of occasions. In military networks their
|
|
meanings are Flash Override, Flash, Immediate and Priority.
|
|
In contrast with all volume settings elsewhere applied, the
|
|
DTMF volumes are default 13 instead of 15. This is done to
|
|
avoid recognition problems that easily occur when DTMF-ing
|
|
too loud.
|
|
|
|
The following songs are preprogrammed with systems using signals
|
|
consisting of several signal elements rather than a single signal:
|
|
|
|
38 .. 40: Redbox payphone coin signals indicating a nickel, dime and
|
|
quarter (non ACTS system).
|
|
41 .. 43: Same as 38 .. 40, using the ACTS system MF-tone.
|
|
44 .. 46: Same as 38 .. 40, using the IPTS system MF-tone.
|
|
47 .. 61: CCITT #3 pulse signals.
|
|
66 .. 85: CCITT #4 forward signals.
|
|
86 .. 99: ATF1 signals.
|
|
|
|
To sequence these signals by means of song invocation more comfor-
|
|
tably, effort has been made to make digits match the second digit of
|
|
the song number.
|
|
|
|
|
|
3.2 Programming examples
|
|
|
|
To illustrate a few practical appliances of your RD some programming
|
|
examples have been added. They are commented upon in the next
|
|
paragraphs. Realizing a desired sequence can of course be performed
|
|
in a variety of ways given the flexibility w.r.t. song programming;
|
|
the examples only display one possible way to do so.
|
|
Songs that are still '-- undefined --' will play strings from field
|
|
0, using MF-key mark times and 50 ms space times by default; i.e. the
|
|
popular C5 interregister signals and timings. Filled with both
|
|
educational and possibly useful songs as it is, the songlist
|
|
initially contains only 25 undefined entries. Don't hesitate to
|
|
overwrite all songs you have no use for, since resetting your RD (see
|
|
2.8.4) will restore them whenever needed.
|
|
After discussing all functions in detail as I have by now, the
|
|
following better be a blunt insult to your intelligence.
|
|
|
|
|
|
3.2.1 Some signalling sequences
|
|
|
|
Song 01: To turn an undefined (FLD: 0, MRK: 50, SPC: 50) song into
|
|
a DTMF number press:
|
|
|
|
<F> <9> <RETURN> to use field 9 DTMF tones, and
|
|
<CTRL> <M> to overrule the MF-keys' 80 ms mark times
|
|
(smooth when dialing manually) with speedier
|
|
50 ms mark times,
|
|
<RETURN> to edit / enter your (DTMF) string, and
|
|
<I> to eventually add a comment.
|
|
|
|
Song 27: plays a C5 string and thus uses the default parameters.
|
|
|
|
Song 28 and 29: song 28 invokes its country code part in song 29;
|
|
together they equal song 27.
|
|
|
|
Song 37: To play tone slots press
|
|
|
|
<F> <1> <RETURN> to use field 1 tone slot frequencies,
|
|
<I> <'TSL: ..'> to overrule the timings with tone slot
|
|
timings as mentioned in paragraph 2.3.
|
|
<RETURN> to edit / enter tone slots.
|
|
|
|
|
|
3.2.2 Pulse signalling
|
|
|
|
Song invocation can a.o. be of use to play pulses with an interval
|
|
of their own within a sequence having a different (larger)
|
|
interval:
|
|
|
|
Song 30: Plays C3 pulses by means of invocations. Each C3 digit
|
|
(song 51 through 56) has its own field specification and timings -
|
|
only the space time of song 30 applies and spaces the digits. The
|
|
space time was enlarged by pressing <S> <500> <RETURN>.
|
|
|
|
Song 31: Plays C4 signals (song 71 through 76) spaced by 140 ms.
|
|
|
|
Song 62 .. 65: Use invocations to play an ATF1 string. Since one
|
|
song can contain 8 invocations only, extra songs are concatenated
|
|
by use of the song expansion character ';'. The 600 ms preamble can
|
|
not fit one song (25 ATF1 0-bits on a row only last 250 ms) and is
|
|
realized by three times invoking a 200 ms preamble (song 86).
|
|
To extend this ATF1 string song 66 could be added as well (e.g. to
|
|
make a double ATF1 string; not to add 8 more digits to the bogus
|
|
22-digit phone number in this example), since expansion is parsed
|
|
effectively up to 4 times as mentioned in paragraph 2.3.
|
|
To program an ATF1 string, make sure the timings of the first song
|
|
are overruled by the 100 baud ATF1 timing by pressing <I>
|
|
<'ATF1: ..'> (again: see 2.3 for more detail). This overrules the
|
|
timings of both invoked and concatenated songs, so you'll only have
|
|
to enter it once.
|
|
|
|
|
|
3.2.3 Dividing phreak stages
|
|
|
|
Four typical C5 phreak stages have been split up under keys <1 ..
|
|
4> on the main keyboard, belonging to keygroup 0 (which is active
|
|
by default). They illustrate the generic idea w.r.t. keygroup usage
|
|
as mentioned in paragraph 2.3. When pressed, they jump to and play
|
|
song 01 (DTMF number), song 32 (clear forward signal), song 33
|
|
(seize signal) and song 28 (C5 string) respectively. This way you
|
|
can repeat a stage whenever needed, e.g. by using your left hand's
|
|
little- through forefinger whilst stretching a nostril with the
|
|
right one.
|
|
Song 32 and 33 have their specified mark time switched off, so that
|
|
the MF-key's mark time they refer to can be altered by means of the
|
|
<+/-> keys as shown in paragraph 2.2.
|
|
|
|
Preprogramming these keys was done by first scrolling to the
|
|
desired song, followed by pressing <CTRL> <1 .. 0>.
|
|
|
|
All other preprogrammable keys will initially jump to and play song
|
|
'XY', where X is the number of the current keygroup and Y is the
|
|
digit of the pressed key (e.g. pressing <ALT><3> and <7> reaches
|
|
song 37). (Necessary exception: key 0 of keygroup 0 is mapped to
|
|
song 01.)
|
|
|
|
|
|
3.2.4 Auto-phreaking
|
|
|
|
When a phreakhole has stable responses and you know the intervals
|
|
and timings, you can easily combine several signalling systems in
|
|
order to phreak by means of a single keypress. Song 34 shows one
|
|
possible way to do this. This song first plays a DTMF number
|
|
followed by a 12.5 second pause, three clear forwards of 120 ms
|
|
with intervals of 0.5 second, a 120 ms seize, another 0.5 second
|
|
pause and ends with a C5 string. In detail this song reads:
|
|
|
|
s01 : invokes the 50 ms mark and space timed DTMF number in
|
|
song 01.
|
|
........ : plays eight times the dot MF-key in field 8, which is
|
|
a 999 ms pause (silence), spaced by nine times the
|
|
song's 500 ms space time. This adds up to an almost
|
|
12.5 second pause.
|
|
f0(f0(f0( : plays the '(' MF-key of field 0 three times (a 120 ms
|
|
clear forward) by temporarily overruling the song's
|
|
field specification. Intervals are still 500 ms.
|
|
f0); : plays the ')' MF-key of field 0 (a 120 ms seize) using
|
|
field overruling as well. The expansion character ';'
|
|
concatenates song 34 to song 35, spaced by song 34's
|
|
500 ms space time.
|
|
s27 : invokes the C5 string in song 27 which uses MF-key
|
|
mark times and 50 ms space times.
|
|
|
|
In this example, completing calls to different destinations using
|
|
the same phreakhole can be done by invoking different C5 songs in
|
|
song 35 rather than changing the contents of song 27.
|
|
|
|
|
|
3.2.5 Scanning country codes
|
|
|
|
If you wish to examine what countries you can reach via a certain
|
|
CO using C5, number scanning combined with song invocation comes in
|
|
handy. As an example, song 28 and song 29 contain C5 strings with
|
|
identical timings. Song 28 plays its country code part by invoking
|
|
song 29. Simply scroll to the latter and press <N> to make it
|
|
subject to number scanning. All controls as explained in paragraph
|
|
2.4 now apply. When in-/decreasing the country code the complete C5
|
|
string can be played by pressing <P> <28>, which redefines the play
|
|
song to song 28.
|
|
When using the preprogrammed phreak stages under keys <1 .. 4> on
|
|
the main keyboard as demonstrated in paragraph 3.2.3, it is handier
|
|
to use key <4> to play the play song. In that case you should
|
|
toggle <A>udio off to in-/decrease the country code silently.
|
|
|
|
|
|
APPENDICES
|
|
|
|
A: Trouble shooting
|
|
|
|
Some of your RD's features can have puzzling side effects, e.g.
|
|
functions overruling standard procedure. They have already been
|
|
described in detail in this manual, which is probably the reason you
|
|
missed them:
|
|
|
|
* Some songs don't seem to respond to the specified mark and space
|
|
timings.
|
|
|
|
Remove the 'ATF1:' or 'TSL:' string heading their comment fields.
|
|
These overrule the specified timings as discussed at the end of
|
|
paragraph 2.3.
|
|
|
|
|
|
* Editing song parameters, comments, mark times or the <+/-> mark
|
|
steps suddenly seems impossible.
|
|
|
|
These functions are blocked when the doorbell mode is active. See
|
|
2.8.1 for an explanation, or just toggle it off by pressing <D>.
|
|
|
|
|
|
* The volume of an MF-key varies now and then.
|
|
|
|
Make sure that freq1 and freq2 have different values. If not,
|
|
soundwave interference may muffle the volume.
|
|
|
|
|
|
* Some MF-keys persistently play C4 signals, no matter what frequen-
|
|
cies or mark times I enter.
|
|
|
|
Remove the 'C4:' string heading their comment fields. These make
|
|
them signal C4 strings as mentioned at the end of paragraph 2.2. In
|
|
songs the specified frequencies and mark time still apply.
|
|
|
|
|
|
* The user interface looks like a mess since tear-gas bombs are fired
|
|
through the window.
|
|
|
|
Burn your notes and deny everything.
|
|
|
|
|
|
B: Where to get the Demon Dialer?
|
|
|
|
For ordering Demon Dialers dial Hack-Tic's Voice Mail Box number:
|
|
+31-20-6001480
|
|
|
|
The do-it-yourself package includes a preprogrammed MC68HC705C8P/DD
|
|
chip, a keyboard print, a processor print (both 65 x 72 mm), keys,
|
|
all necessary analogue parts, a battery holder, an operation and
|
|
reference manual and a very clear construction manual.
|
|
|
|
Hack-Tic's address is:
|
|
|
|
Hack-Tic (Technologies)
|
|
P.O. Box 22953
|
|
1100 DL Amsterdam
|
|
The Netherlands
|
|
Fax: +31-20-6900968
|
|
|
|
|
|
C: Acknowledgements
|
|
|
|
I would like to thank CarloKid for his (sounder than GFA's) sound
|
|
routines, Hackbear for his (non-loop) timer routine, Arie for his
|
|
scanning gear, the Hack-Tic illustrator KoHo who's fun drawings I
|
|
digitized without asking, Troed and Zaphod for their excellent BBS-
|
|
services, ItsMe for making me go astray and Pieter for pretending
|
|
sincere interest during the development of this program. Thanks guys!
|
|
|