May 2021 – HamGab

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Secretary’s Beat – Meeting Minutes

Hamfesters amateur radio club meeting April 2, 2021 7:11 pm

Tonight’s meeting was held on Zoom only, 33 attended.

The March club meeting was cancelled because of a water main break.

The May club meeting will be in person, white elephant sale.

Tonight’s program Annual basic weather spotter’s class by Dave N9KPD.

Nora KC9MLV, club’s President motioned to suspend regular meeting.

Motion approved by; Jim W9JPR, & John KB9FQB.

Meeting adjourned at 9:40 pm

Notes on Audio Interfacing

by Michael Kiley WA9ZPM

I am writing to explain the real truth about how most audio devices are connected together (interfaced), and to correct some misunderstandings. Above all, except for passive filters (which use resistors, capacitors, and maybe inductive coils, but no amplifier or other powered circuits) and very long lines, such as telephone lines, impedance matching, as such, is almost never used in modern audio circuits. Both in consumer and professonal sound systems, almost all interconnections are actually constant voltage, where the impedance of the source is very low compared to the load or other destination where the signal is being sent. Unlike radio frequency, video, and high speed data interconnections, the highest audio frequency humans can hear is 20,000 cycles per second (20 kHz). This is several miles in wavelength. Therefore, standing waves and reflections do not occur with any commonly used wiring. The reason this is called “constant voltage” is because, ideally, the audio voltage does not change as the loading (connecting and disconnecting receiving devices from a source af audio) changes. In analog audio, the voltage will still change with volume level settings and the ups and downs of natural sounds, such as music and speech. When voltage levels are stated in audio systems, this is a design reference value which can only be actually measured with a steady tone (usually at a frequency of 1000 Hz) adjusted to this level. With music and speech, the maximun peaks should be no more than 1.41 times this level. An oscilloscope or peak reading audio AC voltmeter would be needed to measure this.

LOUDSPEAKER CONNECTIONS

With power amplifier to loudspeaker feeds, most speakers are typically rated at 8 ohms, although this impedance varies with frequency because the voice coil is inductive and generates a back voltage as it moves. Modern solid state amplifiers, on the other hand, actually have an output impedance of one-tenth of an ohm or less. The specified output impedance of an amplifier means the amplifier will produce the needed voltage, at the needed current, to drive a speaker, at this impedance, to the rated power level. For example, delivering 100 watts to an 8 ohm speaker will need about 28 volts rms at 3.5 amperes. If a 16 ohm speaker is used, the amplifiier will still produce 28 volts; the speaker will draw half the current (1.75 amperes) and receive half the power. If only 50 watts can provide the desired loudness of sound, without trying to make the amplifier produce more than 28 volts, things will be just fine. In fact, the distortion will probably be lower with the lighter current load, and everything will run cooler. Connecting a 4 ohm speaker (or two 8 ohm speakers in parallel, which will present 4 ohms to the amplifier) will try to draw 7 amperes. If the amplifier is able to source this much current, 200 watts will be produced. However, if the amplifier is not made for a 4 ohm load, the output voltage will be reduced, distortion will increase, and the final output or power supply components may overheat and even be damaged.

LINE LEVEL CONNECTIONS

“Line level” connections include almost all inter-connections between two electronic audio devices. Among these are the inputs and outputs of mixers (except microphone inputs), equalizers, compressors, active crossovers, and other signal processors. This also covers the inputs of power amplifiers and media recorders, plus the outputs of media players and “tuners” which receive web or radio broadcast programming and are connected to an external audio amplifier and speaker to be heard. Because most modern audio gear uses integrated circuit operational amplifiers (op-amps), the impedance from the outputs is generally a few hundred ohms. This is mostly determined by a resistor of that value in series with the op-amp output, both to prevent oscillation from the capacitive load of a cable and to limit short circuit current. Inputs are usually 10 thousand (K) to 50K ohms. This combination allows long cables without degradation of signal and means almost any line output can feed any line input, or even two or more inputs connected directly in parallel. Signal voltage levels are usually .5 to 1.5 volts average, with an industry standard of .774 volts, referred to as 0dbu.

Professional line level connections usually use a balanced feed. Two insulated wires, within a single shield and jacket, plus three contact connectors, are used. The most common plug and sockets are the three-pin locking XLR type, but three circuit, 1/4 inch phone plugs and jacks are sometimes used. The phone plugs are called TRS phone plugs, with the tip and ring for the two live wires and the sleeve for the grounded shield. To achieve a balanced output, both live wires are driven by identical signals of the same impedance and voltage, but of opposite polarity. The inputs are designed to sense the difference between the two wires, but disregard any voltage which is common to both sides of the line relative to ground, or the shield. The ideal way to accomplish this is to use isolating transformers both, or at least either one or the other of, the sending output and the receiving input. The shield grounds are sometimes unconnected at one end, or may be omitted altogether, with just an unshielded, twisted pair of wires making the connection. With telephone lines or in large systems where the two interconnected devices are far apart and powered by separate electrical services, this isolation is a must because of the likely difference in chassis ground potential between the the devices at each end of the line. With smaller and lower cost systems, where everything is in the same, or nearby, cabinets, these balanced outputs and inputs can be implemented using op-amps.

Home consumer equipment uses unbalanced outputs, usually connected by RCA phono jacks and plugs, where a center pin is the one “hot” connection and the outer shell provides the grounded return path. Levels and impedances are somewhat the same as for professional line level connections, but can very more widely between different makes and models of devices. As long as the volume control, which is usually at the input of what is receiving the signal, can be set to the desired loudness, this is considered acceptable. Hum, or undesired noise, can sometimes occur due to “ground loops” caused by differences in chassis potential between two or more units. This can happen especially if two or more devices have three-prong, grounding AC power plugs and are plugged into electrical outlets in different locations. Special audio isolation transformers are available to place in the audio line to break this loop. Sometimes, the third safety pin on the AC plug is cut off or interuppted by an adapter plug, but this unsafe and shound never be done, especially in public or commercial places.

Sometimes it is necesary to connect an unbalaced consumer output to a balanced professonal input, or vice versa. Ideally, this should be done with a high quality, magnetically shielded, isolating audio transformer. They are not cheap, but well worth the cost, especially in large systems. Electronic circuits, using integrated circuits specially made as balanced line drivers and receivers, will do the job, but they need DC power and do not isolate the devices. In a pinch, unbalanced and balanced circuits can be tied directly together, but how this will work depends on the balanced dircuit’s design. If the balanced side is an isolated transformer winding, the unbalanced device should be connected across this winding, and the ground of the balanced side should be left unconnected. If the transformer winding has a grounded center tap, the high side of the unbalanced device should be connected to either end of this winding, while the shield is connected to ground. The remaining balanced terminal must be left unconnected, to prevent shorting out half of the winding. As for op-amp balanced in/outs, the ground of the unbalanced side always goes to the ground of the balanced device, while the high side of the unbalanced unit goes to one side of the balanced device. Grounding the remaining balanced side may or may not be needed or proper; try it both ways and use whichever gives the most gain and is distortion free. If hum or other problems occur, a transformer will be needed.

Most portable and computer devices use a mini phone jack (3.5mm or about 1/8 inch); these are a stereo, 2-channel output. The tip is the left channel; the ring is the right channel, and the sleeve is the common ground return. Y-shaped adapter cords are often used which have a 3 circuit mini phone plug branching to two RCA phono plugs. The tip feeds the white or black handled plug, while the ring connects to the red plug. If such an output must feed a monophonic input, a special cord would have to be made which feeds the ring and tip each through a series resistor, 1K ohms to 10K ohns (both of equal value). The ends of both resistors away fron the mini phone plug would be tied together and feed the high side of the mono input. The shield, of course, would go the the ground of the monophonic input. Some portable battery-power devices, because of their very low supply voltages, can only put out about .2 volts, and may not give loud enough volume level when connected to equipment designed for 0dbu levels. Sometimes an external preamp, with a gain of about 5 (14db) is needed to overcome this problem. Alternatively, these could be connected to a microphone input using a “direct injection (DI) box” made for this purpose.

MICROPHONE INPUTS

The most common microphone type in use is the low impedance dynamic type, which works like a loudspeaker in reverse. A coil of very fine wire, called a voice coil, is attached to a diaphram and suspended in a strong magnetic field. The diaphram moves as sound waves strike it, and the coil moves across this field, inducing an electrical current. In most models, the impedance of the voice coil is 50 to 150 ohms, but some microphones have a transformer between the element cartridge and the cable connector. Output voltage is about 1 to 3 millivolts under normal speaking conditions. Because this voltage is so low and much amplifier gain is needed to make this useable, the connection is usually balanced relative to ground. At the microphone, the connector has three pins (usually a locking XLR type), and the cord has two insulated wires inside a shield. At the microphone, the insulated wires connect to the cartridge or transformer, while the shield is tied to the body housing and other metal parts. At the equipment end, the two inside wires go to a differential preamplifier, which senses the voltage between both wires, but ignores any signal which is common to both wires relative to ground. Some inputs use a transformer where the primary (input) winding is floating, or not connected to anything else than the two input contacts, while others also have a center tap on this winding which is grounded. Actual input impedance can be 500 to a few thousand ohms; 1000 ohms is most typical. For XLR plugs and jacks, pin 1 is shield ground while pins 2 and 3 are the live signal, with pin 2 the more positive side, with positive pressure on the diaphragm.

An enhancement to the balanced input is the phantom powered variety, used with electret capacitor mics. These need DC power for a line driving circuit inside the microphone housing, because electret element cartridges have an extremely high impedance and added circuitry is needed to drive a long cable. The standard is, at the equipment end, +48 volts fed through a 6.8K ohm resistor to each signal wire, while the shield is the ground return. The microphone has a voltage regulator which draws current from both sides of the audio line equally and regulates this to a lower voltage to power its internal circuits. The audio modulates the voltage on these lines, which the equipment input will sense as it would with a dynamic microphone. Some equipment uses a lower voltage, sometimes as low as 12 volts, with series resistors as low as 1k ohms. Most, but not all, phantom microphones will work with this. internally, most phantom powered microphones regulate to between 5 and 12 volts, and the voltage on the audio lines, with the microphone connected, should be at least 3 volts higher than the internal regulated voltage.

High impedance microphone inputs are unbalanced, with one live wire and using ground (shield) as a return. The signal voltage level is about 10 to 50 millivolts, and the equipment input impedance presented to the microphone is 47K to one megohm. Connectors commonly used are two-circuit quarter-inch phone plugs, or an Amphenol connector where the center contacts are an eyelet on each side which butt tegether when mated. The ground is a screw coupling. Outwardly, Amphenol connectors look like small garden hose fittings. Inside the microphone, a transformer is used to step up the low impedance dynamic element’s impedance up by a factor of 100 (voltage and turns ratio 1:10). High-impedance connections are likely to pick up hum, noise, and suffer high frequency loss if the cable is more than 10 feet long due to the capacitance between the center conductor and the shield. Because of this, and the current availabilty of cheap low noise, high gain, balanced input integrated circuit preamps, high impedance microphone inputs are rarely found on late-model sound systems. The only exception is with guitar and other musical instrument pickups. This is probably a carryover from the past. With each instrument feeding its own amplifier which is located close to the instrument, this gives good performance. When these pickups feed long cables, such as if connected to a sound system mixer, a device called a direct injection (DI) box is used near the instrument. These use a step-down transformer or phantom-powered circuits to match to low-impedance, balanced lines and inputs. Some high-impedance microphones use a piezoelectric cartridge (crystal or ceramic) which generates electricity when it is stressed or flexed by a diaphram. Because these types of pickups are more easily damaged by shock or moisture, and have poor sound fidelity, they are rarely used in modern equipment. Hydrophones (underwater micrphones) use ceramic elements, but these also contain a step-down transformer or phantom powered electronics to drive a low impedance line. Some musical instrument pickups are also of the piezoelectric type; these must be used with very high-impedance (500k ohms or more) instrument amplifier (usually vacuum tube or field effect transistor input stage). Special direct (DI) boxes made for piezo pickups are needed with these pickups to feed mixers.

Some microphone inputs are low impedance, but unbalanced. These are like high impedance inputs because they are unbalanced, but they may have the 500 ohm to several thousand ohm termination and the higher gain that low impedance inputs provide. If an XLR or other three contact connector is provided, one of the live terminals (often pin 3 with XLR or the ring with TRS 1/4″ phone plugs) is grounded along with the shield. However, these two grounds must be kept separate from each other, even if they show a direct connection with an ohmeter. This is because the very high gain of these inputs and the very small, but not zero, resistance of real electrical wires and connections. Connecting the shield and signal grounds together may cause hum due to what is called a ground loop. Unbalanced inputs for low impedance microphones are acceptable with portable systems or fixed equipment where the microphone is close the the equipment to which it is connected (say under 30 feet), however, for longer lines, hum and noise rejection may not be adequate.

PHONOGRAPH (VINYL DISK PLAYER) AND MAGNETIC TAPE PICKUPS

Magnetic phonograph pickups (used on all high-quality phonographs) are a special pickup needing a dedicated preamplifier. Because the recordings have a rising signal level as the frequency goes up, these preamps must boost the bass tones, following a response curve specified by the Recording Industries Associated of America (RIAA). When phonograph records were a major medium for sound, most amplifiers and receivers included these preamps and had dedicated input jacks for it. However, today, these are rarely found because CD’s and digital files are more common. Many late model turntables (record players) have built in RIAA preamps, giving the user a standard line level output. USB and other digital outputs may also be featured by digitalizing and formatting the preamplified signal. The raw magnetic pickup signal, if handled directly, is an unbalanced connection using an RCA phono plug. Although it is unbalanced, the ground side must be kept insulated from the chassis to prevent hum due to the very high gain at low frequencies. A separate ground wire is connected between the turntable frame and the amplifier chassis.

Magnetic tape heads are also a very low-level, specially equalized interface, even more so than magnetic phonograph pickups. However, all modern magnetic tape players and recorders contain the needed, frequency equalized, circuitry internally. As a result, both the recording inputs and the playback outputs are standard line level.

Cheaper record players use a piezoelectric type pickup. These have a much higher output level, are, after a fashion, self equalizing to the RIAA standard, and are much cheaper than magnetic pickups. Unfortunately, the input to which they are connected must have a very high input impedance (at least 500K ohms to one megohm), have considerable distortion due to mistracking, and wear out records quickly due the their high tracking force. Therefore, they are used only on cheap mass consumer record players.

HEADPHONES

Almost all headphones are dynamic types, like small loudspeakers. Impedance of each earpiece can vary from 15 ohms to several hundred ohms, depending upon make and model. The lower impedance models will provide more sound volume at lower drive voltages, making them more useable with portable devices. Because most portable products run on two AA cells, or a single lithium-ion cell, only about two volts, peak-to peak, of audio voltage is available to drive the headphones. With almost all modern headphone models, two volts peak-to-peak, or about .7 volts RMS, will produce very loud, perhaps harmful, sound pressure levels into the wearer’s ears. Because of this, most AC line powered equipment has series resistors, ranging from 22 ohms to a several hundred ohms, in series with the headphone jack. This not only helps protect the headphone elements and the user’s ears from harm, but reduces the difference in volume between various models and impedances of headphones, because lower impedance ‘phones are louder with lower driving voltages. This is one of the few cases where source impedance may be higher than that of the destination (load), but the low power levels and the need to protect delicate transducers placed directly on one’s ears make this a safer way to operate.

“CONSTANT VOLTAGE” SPEAKER LINES

Last, but not least, are the so-called constant voltage speaker distribution systems. These are almost never found in residential audio systems, but are used widely in commercial and public buildings for public address and background music. The amplifier produces audio at a rather high voltage onto the speaker wiring, while each speaker has a transformer mounted on it which steps this voltage down to whatever, at the rated line voltage, delivers a desired amount of power to the speaker voice coil. Because of the rather high voltage, 18 or even 20 gauge wire can deliver power several hundred feet throughout a large building with minimal loss, to an almost unlimited number of speakers. The transformers have multiple taps on their primary windings which allow different power levels to each speaker, depending on how much sound volume needs to be delivered to the space the speaker covers. In the USA, 70 volts (technically 70.7 volts) is the most common line voltage, with 25 volts used in schools or where electrical codes require wiring carrying over 25 volts which is installed in a building be encased in metal conduit. 100 volt lines are found in Europe and the UK, and vary large industrial systems may use 210 volts. The term “constant voltage” does NOT mean 70 volts (or whatever the rated line voltage is) are present on the speaker line at all times; this is a design voltage present only if the system is running at full volume with a steady tone. During normal operation, the actual voltage will be much less than that, depending upon how loudly the system is being driven. When turned on but silent, there should be, at most, several millivolts of background hiss or hum. Regardless of the amplifier’s rated power output, it will produce this voltage into the speaker line. The power rating of the amplifier will determine how much current it can provide, and how much of a wattage load it can handle. When working with such systems, the first commandment is NEVER connect a speaker to the constant voltage line without the proper transformer. An 8 ohm speaker will try to draw almost 80 watts from a 25 volt line and over 600 watts from a 70 volt line! This will clearly overdrive any speaker and severely overload all but the very largest amplifiers, possibly damaging either or both devices. Even with a transformer, connect only to the “common” wire or terminal (usually marked “C”) and the wire or terminal for the wattage being selected. All other taps must not be connected to anything. If wattages for more than one voltage are listed on the transformer or instruction sheet, be sure to use the list for the correct voltage. When adding speakers, the sum total of all the transformer wattage taps, both preexisting and being added, must not exceed the rated power of the amplifier. If adding a transformer to a speaker which did not originally have one, be sure the rated impedance of the secondary winding matches that of the loudspeaker voice coil. Since 8 ohms is the most common value, this may match as a matter of course, but double-check to be sure. If they are not the same, the wattage drawn at the primary will not be correct.

Because of the rather high line voltages, along with the power which PA amplfiers can put out, constant voltage speaker lines can cause electrical shock, especially on 70 volt and higher lines. If the system is silent or even playing at a very low volume (such as background music) this may not be happen, but if a loud announcement, or an alarm or signalling tone, comes on while touching across the wires, this may likely occur. It may be best to play it safe; turn off or even unplug the amplifier driving the line when working on the speakers. If you get a shock from a speaker line of a system which is silent, or an any way observe a substantial constant voltage across the line during silent periods, the amplifier is in ultrasonic oscillation. This needs to be repaired immediately; either the amplifier is defective or its output is feeding back to one of its inputs.

Michael Kiley 9-14-2020

VE Exams By Appointment

Hamfesters conducts FCC authorized VE (volunteer examiner) tests for Technician, General, and Extra class licenses monthly.

Date: 2nd Saturday of each Month

Location: TBA upon email registration NOTE: Oak Forest City Hall closed during Pandemic. We will announce when re-opened!

Time: Start time of Exam: TBD time by slots – (0900 hrs) – (1100 hrs) 3 candidates per time Slot

NO WALK-INS ALLOWED!

The VE Team is NOT CONSIDERING any exams during the Hamfester’s Hamfest in August.

Exam Candidates: You are REQUIRED to register in the FCC CORES system and receive a FCC Registration Number (FRN) before exam day. Already Licensed? Please bring your Amateur License and Copy of Your License. Also Bring any CSCE from previous Exams and A Copy if FCC has not acted upon.

Exam Session Requirements
Candidates could go directly to the FCC CORES User Account and Registration
page: https://apps.fcc.gov/cores/userLogin.do

FEES: (currently $15) for the test. We urge you to bring the exact amount of cash. NO CHECKS or CREDIT CARDS EXCEPTED!

The $35 FCC Application Fee has NOT been implemented yet.

CONTACT: Al Bukowski – N9ZD >> Registration by email ONLY!

N9ZD@ARRL.NET – primary OR aln9zd@gmail.com – secondary

PLEASE – NO TELEPHONE CALLS!

Exam Day
What to Bring to an ARRL Exam Session:

1. One legal photo ID (identification):
   a. State Driver’s License
   b. Government issued Passport
   c. Military or Law Enforcement Officer Photo ID card
   d. Student School Photo ID card
   e. State Photo ID card
2. If no photo ID is available, two forms of identification:
   a. Non-photo State ID card (some states still have them)
   b. Birth certificate (must have the appropriate seal)
   c. Social security card
   d. Employer’s wage statement or Minor’s work permit
   e. School ID card
   f. School or Public Library card
   g. Utility bill, bank statement or other business correspondence that specifically names the person; or a postmarked envelope addressed to the person at his or her current mailing address as it appears on
   the Form 605.
3. Students/minors without a photo ID need to bring only one of the above items if a legal guardian presents their photo ID; otherwise two non-photo IDs are required. Minor children (under the age of 18) may be accompanied in the room by an adult during the test.
4. FCC Registration Number (FRN): VECs are required by the FCC to submit your FRN with your license application form.
   New license applicants MUST create an FCC user account and register their Social Security Number (SSN) in the FCC Commission Registration System (CORES) before attending exam sessions.
   Registrants will be assigned an FRN which will be used in all license transactions with the FCC. Examinee Must bring their FRN number to the Exam Session.
   For instructions on how to register your SSN and receive an FRN from the FCC, visit the FCC’s Registration page and the FCC’s Registration instructions page. Per FCC rules, a valid email address is also mandatory on the application form.
5. If applicable, bring a printed copy of either your official Amateur Radio license or a reference copy available from the FCC website, or the original(s) and photocopy(s) of any Certificates of Successful Completion of Examination (CSCE) you may hold from previous exam sessions. If your license has already been issued by FCC, the CSCE showing license credit is not needed. The photocopy(s) will not be returned.
   Instructions on how to obtain an official FCC license copy are on our Obtain License Copy web page.
6. Two number two pencils with erasers and a pen for in-person sessions.
7. A calculator with the memory erased and formulas cleared is allowed. You may not bring any written notes or calculations into the exam session. Slide rules and logarithmic tables are acceptable, as long as they’re free
   of notes and formulas. Cell phone must be silenced or turned off during the exam session and the phones’ calculator function may not be used. In addition, iPhones, iPads, Androids, smartphones, Blackberry devices
   and all similar electronic devices with a calculator capability, may NOT be used.

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Field Day

CQ Field Day de Jim Riley W9JPR

At the beginning of Great Expectations Charles Dickens tells us, “It was the best of times. It was the worst of times.” We’re going to take those words to heart as we prepare for Field Day 2021. With the COVID numbers on the increase, there’s no telling what we’ll be allowed to do, if anything, come June.

In the best of times, Field Day would be an event in which we could all take part on June 26 and 27 at Southbridge Church, one block West of Harlem on 155^th St. or, if you prefer, Wheeler Drive, with setup beginning at 0800 local time and operations running from 1800Z Saturday to 1800Z Sunday.

While definitely not the worst, the less desirable option would be operating from home during those hours as Class 1D. As we learned last year it’s better than nothing but definitely not as much fun as being in a group. Maybe you could get some of the Field Day experience by operating from your back yard. That’s what I plan to do during the day at least. The mosquitoes can chew on someone else after dark.   

 There are other options, too, depending on the size of your property and the tolerance of your neighbors to generator noise.

The 2021 Field Day pin is depicted at the top of this story. Since I can’t be sure if we’ll be able to meet in June to take your order, I suggest you order your pin directly from the ARRL. They cost six bucks each whether you buy them in bulk or individually. Here’s the link: http://www.arrl.org/shop/Field-Day-Pin/

 Make sure your Field Day logging software has the latest updates with the new ARRL Field Day rules. Here’s some more information from the League.

ARRL to Extend Field Day Rule Waivers from 2020, Add Class D and E Power Limit

02/10/2021

The COVID-19 pandemic-modified ARRL Field Day rules from 2020 will continue this June with the addition of a power limit imposed on Class D (Home Stations) and Class E (Home Stations-Emergency Power) participants. The news from the ARRL Board’s Programs and Services Committee comes as many clubs and groups are starting preparations for Field Day in earnest. Field Day 2021 will take place June 26 – 27. “This early decision should alleviate any hesitancy that radio clubs and individual Field Day participants may have with their planning for the event,” said ARRL Contest Program Manager Paul Bourque, N1SFE.

For Field Day 2021:

• Class D stations may work all other Field Day stations, including other Class D stations, for points. This year, however, Class D and Class E stations will be limited to 150 W PEP output.
• An aggregate club score will be published — just as it was done last year. The aggregate score will be a sum of all individual entries that attributed their score to that of a specific club.

ARRL Field Day is one of the biggest events on the amateur radio calendar. Last summer, a record 10,213 entries were received.

“With the greater flexibility afforded by the rules waivers, individuals and groups will still be able to participate in Field Day, while still staying within any public health recommendations and/or requirements,” Bourque said.

The preferred method of submitting entries after Field Day is via the web applet. The ARRL Field Day rules include instructions on how to submit entries, which must be submitted or postmarked by Tuesday, July 27, 2021.

The ARRL Field Day web page contains for complete rules and entry forms, as well as any updated information as it becomes available. Join the ARRL Field Day Facebook page.

Hamfest 2021!

• When: August 1st, 2021
• Where: Will County Fairgrounds
• How Much?
  • Advance Tickets: $8.00 (w/ double stub)
  • At door: $10 (w/ Single Stub)
  • Kids under 12 are Free!
• We already have vendors signing up!
• Stay tuned for more info!

A Note from the Editor

Gene W9PNG

This month’s HamGab marks 2 years for me as the editor of the HamGab! I hope everyone has been enjoying the newsletter. It has been a blast for me to build them each month!

I have been trying to keep the content light and fun and also relevant to ham radio. A few months ago, I started including fun content towards the bottom kinda like easter eggs you might have heard about. FYI easter eggs are usually hidden fun content. I just don’t hide them, but I don’t list them in the directory at the top either! 🙂

I do also include information submitted by the readers. The content must be respectful and related to Ham Radio in some way. You can email content to me at hamgab@hamfesters.org

I hope everyone had a Happy Easter. I am very happy to see the weather getting warmer. Although, there was frost on the windows of my car this morning. Grrrrr.

With Memorial Day around the corner, I hope everyone takes a moment to pay respect to those servicemen and women who gave their lives for the country we live in and call home. As well as those in law enforcement who have also lost their lives in the line of duty.

For those currently serving in either of these areas, THANK YOU. For me, your job seems much more difficult than anything I have ever had to deal with.

Thank you all for reading my ramblings! Gene

Club Information

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Pics from the March Aborted Meeting

No picture available from the April Zoom meeting.

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Notice: Beginning with Feb 2021, all HamGab issues will be gluten and salt-free. This is part of my commitment to provide you with the healthiest and environmentally friendly reading possible. You will notice no degradation in image quality due to the clever design of the editor. If you choose to print HamGab we suggest you use low-fat, vegetarian-based ink in your printer.