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6 Position Dip Switch Programming
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Communications Specialists 6 Position Dip Switch Programming |
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This chart is for all the newer Com-Spec products, including the TS-64 series, that use the
stock or standard programming only ‑ some custom units were produced that
had the tones programmed in a special sequence.
You will occasionally find a field mod where a six‑position or seven‑position
switch has been used to replace the five‑position switch on a TS‑32 series product.
Please refer to the five‑posoition switch web page
for information on that situation.
And you may find a seven or eight position switch used on a six-position TS‑64 product
with the extra switch(es) used to implement individual enable/disable control over the decoder
or the encoder or both.
Click here for the five‑switch table
| Com-Spec 64-Tone Six Bit Dip Switch Table | |||||||||
|---|---|---|---|---|---|---|---|---|---|
| 0 = zero = switch on or shorted = a logic low 1 = one = switch off or open = a logic high | |||||||||
| # | Freq Hz. |
Tone Code 1 |
Dip Switch position | Notes | |||||
| 1 | 2 | 3 | 4 | 5 | 6 | ||||
| 1 | 33.0 | 1 | 0 | 0 | 1 | 1 | 1 | ||
| 2 | 35.4 | 0 | 0 | 0 | 1 | 1 | 1 | ||
| 3 | 36.6 | 1 | 1 | 1 | 0 | 1 | 1 | ||
| 4 | 37.9 | 0 | 1 | 1 | 0 | 1 | 1 | ||
| 5 | 39.6 | 1 | 0 | 1 | 0 | 1 | 1 | ||
| 6 | 44.4 | 0 | 0 | 1 | 0 | 1 | 1 | ||
| 7 | 47.5 | 1 | 1 | 1 | 0 | 0 | 1 | ||
| 8 | 49.2 | 0 | 1 | 1 | 0 | 0 | 1 | These two tones not recommended in areas with 50 Hz power as poorly designed decoders can false on hum. | |
| 9 | 51.2 | 1 | 0 | 1 | 0 | 0 | 1 | ||
| 10 | 53.0 | 0 | 0 | 1 | 0 | 0 | 1 | ||
| 11 | 54.9 | 1 | 1 | 0 | 0 | 0 | 1 | ||
| 12 | 56.8 | 0 | 1 | 0 | 0 | 0 | 1 | ||
| 13 | 58.8 | 1 | 0 | 0 | 0 | 0 | 1 | These two tones are not recommended in areas with 60 Hz power as poorly designed decoders can false on hum. | |
| 14 | 63.0 | 0 | 0 | 0 | 0 | 0 | 1 | ||
| 15 | 67.0 | XZ | 1 | 1 | 1 | 1 | 1 | 1 | |
| 16 | 69.4 | 0 | 0 | 0 | 1 | 0 | 1 | ||
| 17 | 71.9 | XA | 1 | 1 | 1 | 1 | 1 | 0 | |
| 18 | 74.4 | WA | 0 | 1 | 1 | 1 | 1 | 1 | |
| 19 | 77.0 | XB | 1 | 1 | 1 | 1 | 0 | 0 | |
| 20 | 79.7 | SP | 1 | 0 | 1 | 1 | 1 | 1 | |
| 21 | 82.5 | YZ | 0 | 1 | 1 | 1 | 1 | 0 | |
| 22 | 85.4 | YA | 0 | 0 | 1 | 1 | 1 | 1 | |
| 23 | 88.5 | YB | 0 | 1 | 1 | 1 | 0 | 0 | |
| 24 | 91.5 | ZZ | 1 | 1 | 0 | 1 | 1 | 1 | |
| 25 | 94.8 | ZA | 1 | 0 | 1 | 1 | 1 | 0 | This tone is not available in some older radios. |
| 26 | 97.4 | ZB | 0 | 1 | 0 | 1 | 1 | 1 | |
| 27 | 100.0 | 1Z | 1 | 0 | 1 | 1 | 0 | 0 | Probably the most common tone in the USA, but not recommended in areas with 50 Hz power. |
| 28 | 103.5 | 1A | 0 | 0 | 1 | 1 | 1 | 0 | |
| 29 | 107.2 | 1B | 0 | 0 | 1 | 1 | 0 | 0 | |
| 30 | 110.9 | 2Z | 1 | 1 | 0 | 1 | 1 | 0 | |
| 31 | 114.8 | 2A | 1 | 1 | 0 | 1 | 0 | 0 | |
| 32 | 118.8 | 2B | 0 | 1 | 0 | 1 | 1 | 0 | These two tones are suggested to be the last used in areas with 60 Hz power as poorly designed decoders can false on 120 Hz hum. |
| 33 | 123.0 | 3Z | 0 | 1 | 0 | 1 | 0 | 0 | |
| 34 | 127.3 | 3A | 1 | 0 | 0 | 1 | 1 | 0 | |
| 35 | 131.8 | 3B | 1 | 0 | 0 | 1 | 0 | 0 | These two tones not recomended on mixed mode (i.e. tone squelch and digital coded squelch) channels - see note. |
| 36 | 136.5 | 4Z | 0 | 0 | 0 | 1 | 1 | 0 | |
| 37 | 141.3 | 4A | 0 | 0 | 0 | 1 | 0 | 0 | |
| 38 | 146.2 | 4B | 1 | 1 | 1 | 0 | 1 | 0 | |
| 39 | 151.4 | 5Z | 1 | 1 | 1 | 0 | 0 | 0 | |
| 40 | 156.7 | 5A | 0 | 1 | 1 | 0 | 1 | 0 | |
| 41 | 159.8 | 1 | 0 | 0 | 1 | 0 | 1 | ||
| 42 | 162.2 | 5B | 0 | 1 | 1 | 0 | 0 | 0 | |
| 43 | 165.5 | 0 | 1 | 0 | 1 | 0 | 1 | ||
| 44 | 167.9 | 6Z | 1 | 0 | 1 | 0 | 1 | 0 | |
| 45 | 171.3 | 1 | 1 | 0 | 1 | 0 | 1 | ||
| 46 | 173.8 | 6A | 1 | 0 | 1 | 0 | 0 | 0 | |
| 47 | 177.3 | 0 | 0 | 1 | 1 | 0 | 1 | ||
| 48 | 179.9 | 6B | 0 | 0 | 1 | 0 | 1 | 0 | This tone is 1/10 Hz off of the 3rd harmonic of 60 Hz. That can cause problems if you have any AC hum in a system. |
| 49 | 183.5 | 1 | 0 | 1 | 1 | 0 | 1 | ||
| 50 | 186.2 | 7Z | 0 | 0 | 1 | 0 | 0 | 0 | |
| 51 | 189.9 | 0 | 1 | 1 | 1 | 0 | 1 | ||
| 52 | 192.8 | 7A | 1 | 1 | 0 | 0 | 1 | 0 | |
| 53 | 196.6 | 1 | 1 | 1 | 1 | 0 | 1 | ||
| 54 | 199.5 | 0 | 0 | 0 | 0 | 1 | 1 | ||
| 55 | 203.5 | M1 | 1 | 1 | 0 | 0 | 0 | 0 | |
| 56 | 206.5 | 8Z | 1 | 0 | 0 | 0 | 1 | 1 | |
| 57 | 210.7 | M2 | 0 | 1 | 0 | 0 | 1 | 0 | |
| 58 | 218.1 | M3 | 0 | 1 | 0 | 0 | 0 | 0 | |
| 59 | 225.7 | M4 | 1 | 0 | 0 | 0 | 1 | 0 | |
| 60 | 229.1 | 9Z | 0 | 1 | 0 | 0 | 1 | 1 | |
| 61 | 233.6 | M5 | 1 | 0 | 0 | 0 | 0 | 0 | |
| 62 | 241.8 | M6 | 0 | 0 | 0 | 0 | 1 | 0 | |
| 63 | 250.3 | M7 | 0 | 0 | 0 | 0 | 0 | 0 | |
| 64 | 254.1 | ØZ | 1 | 1 | 0 | 0 | 1 | 1 | See note 3. |
Notes:
1) The tones that do not have an entry in the "Tone Code" column (i.e. are blank) are not
EIA standard tones.
2) Digital PL / Digital Coded Squelch uses a clock rate of 134.4 Hz, so it's a good idea to
not use 131.8 Hz / 3B or 136.5 Hz / 4A on any mixed-mode channel.
3) ØZ: Thats a zero, then the letter "Z". It's an unfortunate confusing truncation
of "10Z" into a two digit field.
4) Tones above 203.5 are not recommended in older radios as most PL filters have their
"knee" at 200 Hz.
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The data in the tables above was extracted from the documentation sheets packed with the
products and is copyrighted by Communications Specialists.
Artistic layout, information in the "Notes" column and hand-coded HTML © Copyright
2004 and date of last update by repeater-builder.com.
This page originally posted on 9-Jul-2004.
This web page, this web site, the information presented in and on its pages and in these modifications and conversions is © Copyrighted 1995 and (date of last update) by Kevin Custer W3KKC and multiple originating authors. All Rights Reserved, including that of paper and web publication elsewhere.