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                         MANUAL TO VERSION 1.1 OF


                                   THE
                               ROWDY DIALER



                               (By  RowdyB)
                                
                          1st Release: April '93



-------------------------------------------------------------------------
Please don't hesitate to bother me at either: at073@cleveland.freenet.edu
                                          or: RowdyB@utopia.hacktic.nl

for bug reports, comments, bad poetry etc.
Take note that the latter address may yield slower responses!  - RowdyB -
-------------------------------------------------------------------------
 
    INDEX

1   INTRODUCTION  
    1.1 About the dialer
    1.2 Features
    1.3 About this manual
    1.4 Disclaimer
 
2   USING YOUR DIALER
    2.1 Alpha-numerical editing in general
    2.2 Usage and editing of the Multi-Frequency keys
    2.3 Usage and editing of songs
    2.4 Number scanning
    2.5 Guard banding
    2.6 Sweep test
    2.7 Key logging 
    2.8 Miscellaneous functions
        2.8.1 Doorbell mode
        2.8.2 Adapting key buffers
        2.8.3 Program execution
        2.8.4 Resetting your dialer
        2.8.5 Saving your modifications

3   PROGRAMMING EXAMPLES
    3.1 A word on the presets         
    3.2 Programming examples
        3.2.1 Some signalling sequences 
        3.2.2 Pulse signalling          
        3.2.3 Dividing phreak stages
        3.2.4 Auto-phreaking
        3.2.5 Scanning country codes
        
APPENDICES
A:  Trouble shooting
B:  Where to get the Demon Dialer?
C:  Acknowledgements

  

1   INTRODUCTION
   
1.1 About the dialer

    Early  '92 I programmed a quick and dirty tool to play around  a  bit 
    with  C5 only.  Shortly after that I came in touch with an  ingenious 
    hardware  multi-box;  the Demon Dialer (aka Bill's Box)  by  Hack-Tic 
    Technologies.  It offers a maximum of flexible control over all types 
    of phreaking through easy to learn and smart keycombinations,  giving 
    audio feedback whenever needed.  It features DTMF,  C3, C4, C5/R1, R2 
    (forward/backward),  ATF1, tone slots, a palette of other frequencies 
    to be found in automatic telephony and datacommunication,  as well as 
    guard banding,  advanced (nested) macro  programming,  user-definable 
    mark/space timings and frequencies,  tone sweep and stepping, number-
    scanning,  password protection,  RAM battery backup,  auto shut  off, 
    hookswitch control and an RS232 interface.
    It's about the size of a pack of cigarettes.
    I understood I either had to buy it or add some of its features to my 
    C5-thingy.  Due  to  a cashflow problem ''at the time'' I  chose  the 
    latter option. As time passed it sort of became most of the features, 
    since I started all over again programming an empty, programmable box 
    that  afterwards  could be divided to my  personal  taste.  It  again 
    offers  a maximum of flexible support to phreaking,  since  basically 
    phreaking is a lot of work which one is more inclined to perform when 
    well supported (especially when one confuses laziness and life-style, 
    as yours truly does).

    For information on how to order a Demon Dialer ($250 US or 350 DM/Gld 
    for a very complete do-it-yourself package) see Appendix B.

    This is a =PIZZAWARE= program,
    meaning  that if you enjoy working with it,  I'd like you to  send  a 
    Pizza Salame Xtra cheese (no anchovy) to the following adress:
 
    Rowdy Blokland
    Schotdeuren 52
    4241 BS  ARKEL
    The Netherlands
    (Bank-account: PostBank (ING) 3366741, The Netherlands)

    If it's likely to arrive cold, I'd rather have *oh surprise* the cash 
    equivalent. (Advice: Get 'm cheap!)
    In  the  tradition of all xxx-WARE clauses I should now waste  a  few 
    lines  on  a fruitless effort to convince you,  the  potential  user, 
    what's  so  smart  about sending money to a total  and  utter  (quite 
    probably bad-breathed and perverted as well) stranger. As a matter of 
    fact,  I don't even know this myself. French kissing an AT&T operator 
    sounds like a smarter thing to do.
    Rather  than  crippling features,  withholding manuals  or  promising 
    surprisingly  uninteresting sourcecodes or an  occasional  successive 
    version I simply trust you to go bananas completely during a possible 
    adrenaline-boost  that correct appliance of this program may  inflict 
    on your body which will make your local pizza-dealer cry happy tears.
    You'll regret it though.


1.2 Features

    The Rowdy Dialer (RD) offers in short 10 fields of 16 Multi-Frequency 
    keys, to be applied in up to 99 songs. All values and attributes with 
    respect to songs and MF-keys are fully user-definable,
    thus allowing you to program anything ranging from Morsecode to  your 
    national  anthem.  Initially  you'd be satisfied with  the  following  
    concerts your RD is already composed with:

    * DTMF 
    * CCITT 3 (audio), 4 and 5 (/R1)
    * R2 forward/backward
    * Red-/greenbox
    * ATF1
    * Tone slots
    * Several line- and other signals

    and features a.o.
 
    * Number scanning
    * Guard banding
    * Sweeptest
    * Frequency stepping
    * Song programming and invocation
    * Preprogrammable songkeys (10*10)
    * User-definable timings/frequencies per song/MF-key
    * Direct marktime/volume stepping
    * (Password protected) key logging
    * Program execution

    presented through a macho and informative graphical interphace. 


1.3 About this manual
    
    This manual is NOT a manual on phreaking as such.  There's already  a 
    truckload  of  files  out there  supplying  information  on  history, 
    folklore,  terminology,  box-schemes etcetera w.r.t.  this,  and your 
    local  technical library can also be of help.  In this textfile  your 
    dialer's  various functions and possibilities are described  step-by-
    step and how to make good use of them.  All keycombinations have been 
    chosen  with some logic and all input is made foolproof - or  so  I'd 
    like to think ..
    Btw:  don't bother to memorize what keypress goes with what function, 
    it's all runtime available in short under <HELP>.


1.4 Disclaimer

    "The  amount  of time people waste to get something  for  nothing  is 
    highly remarkable" - Robert Lynd
 
    The user of this program is solely responsible for his or her use  of 
    it - legal or illegal.  I'm merely a poor toolmaker and simply cannot 
    and  will not take any responsibility.  This argument works  for  the 
    arms industry, so why wouldn't it do the job for me! (Of course, I do 
    lack relevance in the highest echolons of any government.)
    As a matter of fact, I would strongly advice against use of this tool 
    at all.  It has rumour that getting a job and paying your bills might 
    work as well, but I wouldn't know.


2   USING YOUR DIALER

2.1 Alpha-numerical editing in general

    All  alpha-numerical  editing  is taken care  of  by  GFA's  standard 
    formatted-input routine.  Unfortunately it is not fit for a graphical 
    environment and has the irritating habit of adding 1 or 2 blanks when 
    entering/editing fullsized input;  temporarily giving the interface a 
    rather  silly look.  On the other hand it's quite a  luxurious  input 
    routine  and making one of my own just to meet this would be too  big 
    an effort.
    DO  NOT report this to me as a bug!  After entering your  string  all 
    possible damage will be restored.
    The editing commands are: 

    <ARROW LEFT/RIGHT>        Move cursor left/right
    <ARROW UP/DOWN>           Move cursor to begin/end
    <CTRL><ARROW LEFT/RIGHT>  Move cursor to begin/end
    <INSERT>                  Toggle insert/replace mode
    <BACKSPACE>               Delete character left of cursor
    <DELETE>                  Delete character right of cursor
    <ESCAPE>                  Clear string
    <ENTER/RETURN>            Enter string    
 
    Don't  worry  about  entering incorrect,  out-of-range  or  no  data. 
    Depending on the situation the data will be mapped in range (absolute 
    value or bottom/top of range etc.),  replaced by the last value (e.g. 
    when entering nothing) or an error message will appear.
    Accidentally including control-codes in your comments on  songs,  MF-
    keys  or  fields  however  can sometimes fuck  up  the  look  of  the 
    interface;  so don't.  If you did,  remove them. When needed, you can 
    redraw the entire screen by pressing
 
    <CONTROL><R>              Redraw screen


2.2 Usage and editing of the Multi-Frequency keys

    The use of the MF-keys is to both define (interregister-)signals  for 
    use  in songs and to (a.o.) provide a way to explore line  signalling 
    directly. Especially immediate marktime- and volumestepping can be of 
    great help w.r.t. the latter.
    The attributes of each Multi-Frequency key (MF-key) are two  frequen-
    cies,  its  duration or marktime,  its volume and a twelve  character 
    comment.  Each MF-key corresponds to the numerical keyboard as shown. 
    The frequencies and marktime are printed on each key,  the volume and 
    comment show up in the infobox at the right when pressing an MF-key.
    As  said before,  there are 10 fields of 'em.  Simply use the  <ARROW 
    LEFT/RIGHT> keys to change to a previous or next field.  When you get 
    to know the fields it's often handier to jump directly to the one you 
    need. For this press <CLR HOME> and enter the desired fieldnumber.
    Different  signalling systems are spread over different fields  when-
    ever possible to facilitate simple field-usage in songs (see  below). 
    For clarity each field is commented upon in the upper infobox to  the 
    right.
    How to change an MF-key's attributes:
    
    Frequencies: Can  be  changed  by entering a  value  directly  or  by 
                 frequency stepping.
                 First press <CTRL> together with the MF-key you wish  to 
                 edit to enter the MF-key editing box at the left.  Freq1 
                 can now be changed. Press <ENTER> or <RETURN> to enter a 
                 new value.  The allowed range is 31 .. 4000 Hz; from the 
                 lowest frequency the ST can produce to the upper  border 
                 in outband signalling (voiceband 300-3400, outband 3400-
                 4000).  Entering 0 Hz is also allowed and interpreted as 
                 silence.  Pressing  <CTRL><ARROW LEFT/RIGHT> swaps  from 
                 freq1  to  freq2 and back.  This  swapping  takes  place 
                 automatically when entering values directly, in order to 
                 facilitate entering lengthy multi-frequency tables.
                 To decrease/increase a frequency with a certain stepsize 
                 (default 10 Hz) press <ARROW LEFT/RIGHT>. This frequency 
                 stepping  can  be  made audible by  pressing  <A>  which 
                 toggles audio on/off,  using the MF-key's volume.  Press 
                 <S> to change the current frequency's stepsize (Range: 1 
                 .. 999 Hz).
                 Btw:  Make sure the two frequencies are not identical  - 
                 soundwave  interference may muffle the volume from  time 
                 to time.

    Marktime:    Can be changed in three ways:  Entering a value via  the 
                 MF-key  editing box,  entering a new value  directly  or 
                 changing it according to a desired stepsize.
                 When already editing frequencies in the MF-key edit box, 
                 changing  the marktime as well can be done  by  pressing 
                 <CTRL><ARROW DOWN> (Range: 1 .. 999 milliseconds).
                 Entering  a  new  value directly  is  done  by  pressing 
                 <SHIFT><MF-key>.
                 When  exploring the timing required for a  certain  line 
                 signal (e.g.  starting low and increasing with a certain 
                 step)  it's best to use the <+/-> keys to  achieve  fast 
                 results.  The MF-key you pressed last  (actually:  about 
                 which  info is updated in the info box - eventual  field 
                 changes  are taken into account as well) will be  affec-
                 ted. Initially the <+/-> keys are switched off. Activate 
                 them by pressing <CTRL><+/->.  This toggles them on/off, 
                 indicated by the bold or grey look of 'em. (ADVICE: When 
                 you don't need them,  switch them OFF. You don't want to 
                 accidentally change timings unseen).
                 Default  the  stepsize of the <+/-> marktimes is  5  ms. 
                 Press <RIGHT SHIFT><+/-> to change either one (Range:  1 
                 .. 99 ms).

    Volume:      Can  only  be altered by use of the  <+/->  keys.  Press 
                 <LEFT  SHIFT><+/->  to  toggle between  MARK  or  VOLUME 
                 stepping (only when they're active).  As with  markstep-
                 ping the MF-key last pressed is affected.  Range is 0 .. 
                 15  (logarithmically scaled of course,  to  match  human 
                 hearing).

    Comment:     The comments on both a single MF-key and a field of  MF-
                 keys can be changed.  Press <ALT><MF-key> to change  the 
                 former or <CTRL><ARROW LEFT/RIGHT> to change the latter. 
                 Comments can be up to 12 characters. Range is technotalk 
                 to sexual explicits,  yet unnecessary and gross abuse is 
                 recommended.

    ONE IMPORTANT EXCEPTION:
 
    If one wishes to play C4 signals one should formally use songs  under 
    preprogrammed  keys  (see below),  since those signals  are  combined 
    ones. Nevertheless, an obscure option has been added to enable you to 
    play C4 signals comfortably via MF-keys:

    * When  the first three characters of the comment field match  'C4:', 
      the  RD will overrule the timing and frequencies belonging to  that 
      MF-key.  Instead,  the following characters immediately after 'C4:' 
      will be examined and played:
      
      Char:   Freq1:   Freq2:   Marktime:

      P       2040     2400     150
      X       2040     0        100
      Y       0        2400     100
      Q       2040     0        350
      R       0        2400     350
      x       2040     0        35
      y       0        2400     35

      (Actually, Q and R should read XX and YY to match the notation used 
      in CCITT Rec. Q.121; I prefer straightforward parsing though.)
       
      The interpretation of these C4 strings is,  of course,  case-sensi-
      tive.  The first character not matching one in the table marks  the 
      end of the sequence.  To improve readability,  this can e.g.  be  a 
      blank  followed  by  a remark,  as done  in  field  #1.  (Btw:  MF-
      characters  in  a  song  still  refer  to  the  normally  specified 
      frequencies and timing of an MF-key (see below).)
      Intervals are 35 ms and the MF-key's volume still applies.
      
    Of course,  unless low-cost timetravel is added to the list of  human 
    rights real soon,  I could have saved myself the trouble of implemen-
    ting this.


2.3 Usage and editing of songs

    To  create and play strings of (combined) signalling systems the  use 
    of macro's or songs is provided.  In the songbox at the bottom of the 
    screen you'll find the songlist.  You can scroll it using the  <ARROW 
    UP/DOWN> keys. Scrolling 10 songs up/down at once is done by pressing 
    <CTRL><ARROW UP/DOWN>,  and jumping directly to the top or bottom  of 
    the songlist by pressing <SHIFT><ARROW UP/DOWN>.
    Each  song can contain up to 25 characters that may refer to the  MF-
    keys, indicate song invocation(s), song expansion or field overruling 
    (see below). 
    Attributes  per  song  are a fieldnumber  (FLD:),  mark-  (MRK:)  and 
    spacetiming  (SPC:)  and an 18  character  comment.  The  fieldnumber 
    indicates the field  the MF-characters correspond with, the mark- and 
    spacetime  indicate the duration of the signals and  their  intervals 
    (in milliseconds).  If FLD: or MRK: are printed grey instead of bold, 
    their specifications do not apply.  Instead,  the currently displayed 
    field or the marktimes of the MF-keys themselves are used,  respecti-
    vely. 

    Playing the current song can be done by pressing <INSERT>.
    It's  also possible to preprogram keys 1 ..  0 on the  main  keyboard 
    with  your  favorite  songs.  This way you can  directly  play  songs 
    without having to look them up first in the songlist:

    - Scroll to the song you wish to preprogram.  Now simply press <CTRL> 
      and one of the <1 .. 0> keys you want to store it under.
    - When  pressing <1 .. 0>,  the stored song is jumped to  and  played 
      immediately.  If you just want to check what song is under what key 
      and don't want to hear a (possibly lengthy, e.g. ATF1-) song; press 
      <CTRL><D>.  This toggles Direct play on/off. Songs will now only be 
      played by either pressing the <1 ..  0> key again (after the jump), 
      or by pressing <INSERT>.
    - Actually, there are 10 groups of keys <1 .. 0>, each keygroup again 
      indexed  by <1 .. 0>.  To change from one keygroup to another  just 
      press <ALT><1 .. 0>. Initially keygroup 0 is active.

    Of  course one most likely won't need 10*10 preprogrammable  keys  as 
    such.  The idea is to spread several phreakstages over a few keys, in 
    order to facilitate repeating a stage whenever needed,
    (e.g.  Key 1: DTMF sequence; Key 2: Line signal A; Key 3: Line signal 
    B; Key 4: Interregister signal sequence (Keys 5 .. 0: as Key 4))
    and several of these (possibly similarly looking) phreakstages can in 
    turn be divided among different keygroups.

    Changing a song's attributes:
 
    Fieldnumber: To toggle specified field usage on/off press  <CTRL><F>. 
                 When off,  the currently displayed field applies instead 
                 of the specified fieldnumber.
                 To change the fieldnumber press <F> (Range 0 .. 9).

    Marktime:    To   toggle  specified  marktime  usage   on/off   press 
                 <CTRL><M>.  Press <M> to change the marktime (Range 1 .. 
                 999 ms).  When switched on you can easily adapt the mark 
                 time of signals needing a uniform length only, otherwise 
                 you'd rather switch it off and use the MF-key mark times 
                 instead.

    Spacetime:   Press <S> to change the spacetime (Range 7 .. 999 ms).

    Information: Press <I> to change the information on a song.  Up to 18 
                 characters  can  be  entered  (For  range  see  MF-key's 
                 comment attribute).

    Song itself: To change the contents of a song press  <RETURN>,  after 
                 which up to 25 characters may be entered.
                 Allowed entries are:
                 - All  MF-key  characters,  where an  E  represents  the 
                   ENTER-key.
                 - Song  invocation:  is established by entering  an  's' 
                   followed by a two-digit song number (Range 01 ..  99). 
                   Invocations  can be inserted repeatedly  and  anywhere 
                   within a string.  As with playing an MF-character, the 
                   invoked  song  is bordered by the space times  of  the 
                   invoking song.  Invocations allow you to e.g.  combine 
                   different  signalling systems with different  timings, 
                   to create pulse signals with an interval of their  own 
                   within a sequence having larger intervals, to invoke a 
                   stringpart  that  is subject to number  scanning  (see 
                   below) etcetera.
                   Invoking  an  undefined song has the  same  effect  as 
                   leaving the invocation out.
                 - Song expansion: To expand a song simply enter a ';' at 
                   the  end  of your (possibly empty)  string  (in  fact, 
                   it'll  always  be  at  the end  -  what  tails  it  is 
                   removed).  The  song is now concatenated to  the  next 
                   one.  Effectively this is parsed up to 4 times.  Apart 
                   from  possibly  using this as an alternative  to  song 
                   invocation,  it's  main  purpose is to enable  you  to 
                   enter  up to 5*25 characters.  If those  are  e.g.  40 
                   successive invocations (8 times 'sXX' plus a ';' in  5 
                   concatenated  songs) this yields up to 5*8*25 or  1000 
                   characters (plus one,  if you end the last song with a 
                   character  instead  of a ';') - especially of  use  to 
                   ATF1.
                   When  concatenated,  the space time between  the  last 
                   signal  of song N and the first signal of song N+1  is 
                   equal  to  the space time of song  N.  An  empty  song 
                   containing only the expansion character  transparently 
                   glues the previous and next song together.
                 - Field overruling: To pick an MF-character from a field 
                   different from the specified (or current, when FLD: is 
                   switched  off)  field,  enter an 'f' followed  by  the 
                   desired  fieldnumber (0 ..  9) and  the  MF-character. 
                   Everything  following  this  will be  subject  to  the 
                   normal field specification again.  This allows you  to 
                   use  signals not included in the same field,  such  as 
                   signals  not fitting the 16 MF-key field or pauses  to 
                   be found in line signalling field #8.
                   Of course,  this can also be solved by use of  invoca-
                   tion,  expansion,  or even reprogramming a field, pen-
                   ding  the  situation.  Overruling will come  in  handy 
                   though.

    Restrictions with respect to song programming are:
    
    - Songs may not invoke themselves, simply to avoid loops.
    - Nesting  may only be 1 level deep,  i.e.  an invoked song  may  not 
      contain further invocations, and
    - An invoked song may not be expanded.
 
    Since  a  song is parsed and transformed to a bunch  of  arrays  just 
    before  playing,  these restrictions make sure there's a  predictable 
    limit to the sequence to be played (1001 signals).
    Apart from that,  you'll have a hard time making up a  phreaksequence 
    that couldn't be realized using the offered flexibility - if at all !
    
    You DON'T need to bother memorizing these restrictions yourself; your 
    RD  keeps  track of whether a song is invoked by others  and  howmany 
    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!