Ham Radio’s Paper Trail

A new book from Standard Manual

Ham, or amateur, radio may quietly circumnavigate the ether but it has tangible components as well. There are the radios themselves. There are also QSL cards, which are sort of like business cards for individual ham operators — or more to the point, for their call signs. 

This is a QSL card from Italy
Pen Pal: Where better to begin than with a card from the home country of radio innovator Guglielmo Marconi?

A trove of more than 150 such QSL cards, formerly owned by an operator who went by the call sign W2RP, was obtained by designer Roger Bova. Bova then collaborated with the book imprint Standards Manual (full disclosure: I’ve done some work with the publisher’s parent company, the design firm Order) to collect them into a handsome volume. I’m reprinting some of the images here, with the publisher’s permission.

This is a Byelorussian QSL card, reproduced in the book.
Red Hot: A Byelorussian card reproduced in the book

W2RP, as it turns out, was no ordinary “amateur.” W2RP was the late Charles Hellman, who lived to the age of 106. The cards obtained by Bova are both a visual map and a physical manifestation of the numerous conversations he participated in over what is said to have likely been the longest continuously active ham license, more than 90 years. Hellman first obtained his license at the age of 15. Some historical context: he was born in 1910, one year after the Nobel Prize in Physics went to Guglielmo Marconi and Karl Ferdinand Braun for their pioneering work in radio. Hellman himself taught physics in Manhattan and the Bronx, and two of his students reportedly went on to win the Nobel in physics. (More on his remarkable life at qcwa.org.)

This shows a page from the book with a Ukrainian card, each bit of information highlighted to explain how the cards contain and express data.
Between the Lines: The book details how to interpret the standard information on QSL cards.

The letters QSL, as they relate to ham radio, don’t stand for anything, not in the sense that an acronym might. As I understand it, QSL is one of many three-letter Q-codes, all beginning with Q, used in radio to transmit information in a succinct fashion. “QAK” means “Is there any risk of collision?” while “QAU” means “Where may I jettison fuel?” Many involve urgent matters. “QSE” means “What is the estimated drift of the survival craft?” and “QTW” translates, ominously, as “What is the condition of survivors?” Others, given how old this form of communication is, are less currently useful. “QTC,” for example, means “How many telegrams have you to send?” 

A card from Poland in the book.

The more I read about Q-codes, the more I wondered about two things: 

First, why don’t people who make websites make cards for them?

Second, why haven’t any of these codes caught 🔥 in social media. I, for one, am going to try to make “QRI” (“How is the tone of my transmission?”) and “QRL” (“Are you busy?”) happen. I look forward to Bandcamp musicians adopting “QOI” (“Shall I send my tape?”). “QRH” and “QRN” are less likely to catch on; they mean, respectively, “What is your wavelength in meters?” and “Are the atmospherics strong?” (And to be clear, the codes aren’t just questions. They can also connote a response, depending on how they’re employed.)

A German card — with a little raccoon — from the book

As for QSL, the Q-code in question: it stands for “Can you acknowledge receipt?” A QSL is, it’s important to appreciate, more than a business card. You send it by mail to the person with whom you’ve communicated. It’s like a personalized receipt for a conversation. This time-honored convention explains the personal notes and markings on the many cards in Hellman’s collection. 

A card from, I believe, France

Now, I’m sure I’ve muddled some of the information I’ve shared here, so if you’re a ham operator, don’t hesitate to school me; I’m here to learn. And if you have some cool QSL cards yourself, please send me some pictures, and (with your permission) I’ll post them in a future edition of This Week in Sound. 

A card from England

More on the book, QSL? (Do You Confirm Receipt of My Transmission?), at standardsmanual.com. (And it’s worth mentioning that a search for “qsl card” on eBay yields nearly 100,000 returns.)

On Repeat: Earth, Wind, and Conceptual Guitar

Recent favorites

I’m getting back in the habit of posting brief mentions each Sunday of my favorite listening from the week prior:

▰ The opening of the new Earth album, Even Hell Has Its Heroes, the soundtrack to an upcoming documentary (directed by Clyde Petersen) about the band, is the perfect way to celebrate Droneuary. And then it evolves into something revelatory, as only an Earth performance can. It’s just Dylan Carlson, guitar, and Adrienne Davies, drums, though several other musicians do appear later on the album, including Mell Dettmer on Moog (what Moog specifically I’m not sure). Even by Earth’s subharmonic standards, this is an often rewardingly subdued collection. (Oh, and the striking cover art, featuring Carlson’s profile, is by Richey Beckett.)

https://evenhellhasitsheroes.bandcamp.com/album/even-hell-has-its-heroes-original-motion-picture-soundtrack

▰ This cover of “I Put a Spell on You” by Alice Smith is an incredible rendition (veering-on-minimalist reduction when it starts) of the Screamin’ Jay Hawkins song, heard here as channeling the accusatory syllabic insistence of Nina Simone’s classic recording (Smith herself recorded it previously for the various artists compilation Nina Revisited… A Tribute to Nina Simone, back in 2015, and it’s clear that subsequent years of consideration have given her insights into every nook and cranny of the composition). It’s part of the Gagosian gallery’s ongoing video series (which included a Bill Laswell / John Zorn team-up I mentioned here last week). Smith is supported on piano by Dennis Hamm, who manages to stay out of her way without being utterly erased by the sheer power of her voice. It’s quite something.

How Will I Know This Will Make a Memory, the latest from Cinchel, is gorgeous both sonically and conceptually. The title/opening track is a live concert recording from back in the middle of last year: layers of processed guitar achieving a cloudy, looping ambient quality that extends for three quarters of an hour. Two other tracks rework that material into even denser, at times downright orchestral, splendor. And the final track is a test run that precedes everything we’ve heard thus far: it’s Cinchel’s recording of his rehearsal for the concert performance that constitutes the first track.

https://cinchel.bandcamp.com/album/how-will-i-know-this-will-make-a-memory

▰ The Golden Gate Bridge has gained unintended renown in recent years because of how recent re-engineering has led to it emitting singing-like tones when the wind picks up. I live less than three miles from the bridge, as the (numerous and territorial local) corvids fly, and I can often hear it from my backyard. This tweet from during the recent storms captures that drone from inside a car as it crosses the bridge — and for bonus cinematic flair, it features an overturned tractor trailer. The footage is like a clip from a Michael Mann or Nicolas Winding Refn film, score and all.

Thunder Dome

Learning to love LightningMaps.org from a distance

Unless you’ve been offline the past week, then you’re likely aware that California has been inundated by precipitation — vast torrents of rain, and enough hail one afternoon that my backyard here in San Francisco looked like someone had tipped over a ton of ice cube trays.

Along with the rain has come something I became relatively inured to as a child in New York, but experience far less often in the San Francisco Bay Area: lightning. The rain got so intense this past week that I pulled up the lightningmaps.org website to track the impending impact. For the record: I am no longer inured. In fact, I still suffer low-grade storm PTSD since the four years I lived in New Orleans (1999-2003: loved the city, but hurricane alerts take a toll).

A screenshot from Lightning Maps showing thunder approaching
Circles of Hell: These slowly expand on the Lightning Maps website to show thunder as it emanates from a strike, each depicted here as a bright yellow dot. 

At the height of the storm, it was amazing to watch in the website’s interface as the lightning strikes exuded thunder out of hearing range, and to then sit and wait as the thunder approached, each strike’s fierce echo visualized in ever-changing Venn diagrams of doom that slowly expanded and decayed in equal measure.

So much online life is founded on semi-asynchronicity, on latency, on lag — on communicating in fits and starts, on sending out information and waiting for a reply. In the case of email it can be hours or days (or if I’m your correspondent, months); with social media and, especially, text messages, we’re accustomed to brief pauses that we struggle not to fill with meaning. 

With the geometrically perfect, slowly expanding circles of browser-based Lightning Maps, the meaning is clear. (Side note: if you know of an ad-free way to experience this data, please let me know. I bought the iPad app but far as I can tell, the app doesn’t feature the slowly expanding circles I found so useful in the web interface.) The latency between lighting strike and thunder is based on rudimentary physics, not on someone’s availability or mood. You watch as the wave of sound approaches. Given the sheer force of some of the recent thunder, especially in the context of its relative unfamiliarity in these here parts, the live map has provided a form of comfort by helping prepare me for the arrival of the next boom — and the one after that. 

Scratch Pad: rain, fiction, UX, Prince

From the past week

I do this manually each Saturday, usually in the morning over coffee: collating most of the little comments I’ve made on social media, which I think of as my public scratch pad, during the preceding week. These days that mostly means post.lurk.org.

▰ lightning -> thunder -> dogs -> sirens

▰ First two novels I finished reading this year: The Mother Code by Carole Stivers and And After the Fire by Lauren Belfer.

▰ Outside, it’s nonstop rain. My Facebook feed is nonstop Jeff Beck RIPs.

▰ This week’s Disquiet Junto project is the second of the year, but the first that I wrote up in the redesigned Disquiet.com backend. Felt good — a little unfamiliar, certainly, but it went smoothly.

▰ It’d be nice if YouTube Music was available in “split screen” mode (or “slide over”) on the iPad. A small wish for 2023.

▰ If “the song that was #1 on your 23rd birthday is how your 2023 will play out,” then apparently Prince’s “Batdance” (maybe my least favorite Prince hit) is my year ahead. I have no idea what that means. (Could be worse — in England on that day it was Jive Bunny’s “Swing the Mood.”)

▰ There are many strange things about the first episode of Seinfeld, among them that, naturally, the audience doesn’t cheer when Kramer walks into Jerry’s apartment.

▰ Sentence I typed today: I aspire to be the love child of Alexander Isley and E.E. Cummings