Magazines!

Part of the mission of this blog is to explore the commonality between Radio and Letterpress.  Specifically, Amateur Radio, and more often than not, vintage wireless and the graphics and print activities that surrounded it.

First, permit me to introduce to you, none other than:

The "Wapsi".  Also known as the Wapsipinicon Almanac.  Printed by a fellow named Tom Fay.  You can read about this amazing magazine here. The short description of this publication is that it is printed out of Small Town Iowa, carried in Barnes & Nobles in that state.  It's a completely letterpress printed magazine, Linotype set, printed from hard metal formes on an ancient cylinder press, along the lines of a Kelly B or Little Giant press.  What's amazing to me is how such a magazine can even exist in this day and age.  The cost of production in sheer labour intensity is enormous.  Hence, one publication per year has been produced by Tom's operation, "Route Three Press" for over twenty years, now.

The cover art is amazing.  Now, I am not entirely sure if they still use the old process, but at one time they used traditional ply wood, hand cut, to print their covers.  This was pretty common back in the the later 19th century and first three decades of the 20th century.  Back in this era, each colour required its own separate wood 'block', which was cut in register with the other colours and the "key", or black colour wood block.  In the cover above, two colours are utilized, the blue and the black.  Each colour would have it's own hand carved block.  Another word for a printing surface is "die".

I really enjoy these covers from the Wapsipinicon Almanac, and largely because the covers, in the main, are hand wrought as they were in 1919.  Now, I cannot say that every magazine was printed using wood, some were "dot etched" copper dies, using a photographic method of exposure and acid etching.  But many did use plywood dies, one of which was Vogue.  Close scrutiny of Wireless Age magazine indicates that they used similar, at least up to 1919.  My understanding is that the Wapsi cover art is designed by local artists, and hand cut on premises, usually by the artists themselves.  The annual magazine enjoys the talents of a Linotype operator who has been in the business over sixty years.  I don't know the type of cylinder letterpress they use, but Tom calls it "ancient".  Tom runs it himself.

I thought I might, for educational purposes....which is the decided aim and function of this blog....share a few Wapsi Covers so you might get the feel of a genuine, hand wrought artisan publication.

Here we go:

. . . amazing, isn't it?  By the way, the Wapsipinicon is a conjunction between two indian names, Wapsi, and Pinicon.  They were lovers who drowned in the river which bears their name.  Sorry saps.  (-yawn-)  But a great rag!

Ok, now the Wireless connection.  I direct your attention to probably the best known and one of the oldest surviving technical magazines: "QST ", the official organ of the American Radio Relay League;  It began publication by Hiram Percy Maxim, founder of the League itself.  When he started the "Relay" League, he took in members of another radio club which was in existence since around 1909, called the Junior Radio Club which, believe it or not, managed to strike off a one-shot magazine of its own!  I cannot find a photo of it, neither can I find the name of that publication, but I am pretty certain its existence and continuance was something Hiram desired to perpetuate, probably as a tool to bond fellowship among members and as an Amateur Radio recruiting tool.  The magazine title is taken from the wireless telegraphic "Q" signals, and means "General Message for all Amateurs", beginning publication in 1914.  While I do  not have a photo of the original first edition (really more of a printed membership roster, less a magazine at first) - below is an idea of what it looked like.  The magazine cover art is very common for trade publications, mostly simple hand drawn art-deco framing, titling with typeset characters.  Liberal use of typeset border fonts seem to be incorporated into these covers. Below is an early QST:

By way of translation, the cover reads "QST de the American Radio Relay League".  "de" is the telegraphic shorthand for "this is".  Again, QST  as a three-letter signal sent telegraphically over the air carries the meaning of "Calling All Hams" or "Calling All Wireless Operators".

This particular QST has a blue-grey cover, printed in black, for the month of December, 1915. I believe the cover stock colour changed month to month. This was a true informational magazine, carrying ads, and quite early in the game, comics.  The magazine was printed through the first World War, announcing America's first wireless Wartime ban, and then, in 1919, heralding the lifting of that ban.

By the late teens, QST sported some surprising cover art, for a private hobby organization with a few hundred members and a limited budget.  I am sure Hiram sunk a lot of his own money into these sorts of ARRL endeavours.

This is the general look and design of QST from the late teens, and up to the middle of the 1920s.  I think this cover is a wood cut duo-tone, vermillion and black.  That is a wartime era dirigible depicted on the cover, crossing over either the English Channel or the Atlantic.  Love the font used, and the lightning bolts emanating from the framed title "QST:".  That motif pretty well held through the 1920s.

This July, 1922 cover is probably my favourite.  Again, its a duotone print, green and black.  Notice any similarity between these magazines and the Wapsi?

This is another one of my favourite covers.  I love the central circle design framing the little "Radio Shack".  Now, there's a real radio shack, stovepipe and all!  Check out how far it is from the house!  This is a duotone cover, aquamarine and black.

Hmm . . . another canoe theme.  Come to think of it, there's a lot of canoe oriented art going on with the Wapsi, too!  I might guess this was a traditional favourite.  Note that more than two colours are being used.  Right about 1921, QST began more and more to use screened four-colour separations in their printing, but from time to time, solid colour rendering would still appear.  By the way, these magazines of the early twenties or late teens sell for a considerable sum these days.  Back in the seventies, you could have picked these rags up for almost nothing.  What a difference forty years makes!

Here is a three-colour combination of dot-etched screen work on copper plating, and solid colour printing, very possibly using the same wood die technique employed by Vogue at this time, and more recently, the Wapsi.  Notice that the level of artwork varied considerably.

Printing varied a bit, too.  The registration of the red-orange die slipped a bit.  Oops.  Notice that this colour is used for both the skin pigment of the operator, screened at about ten percent, and for all text.  This appears to be a 1922 duo-tone.

A 1922 tri-tone. Red, brown and black  Red and Black would be the primary elemental cover colours with this magazine.

This was to become the standard cover format through 1930.  Three colours, solid and screened.  The title text is obviously hand drawn.  The text on the bottom is type, using the ubiquitous Cooper Black, the most extensively used advertisement font in the western world, and still thriving today.

From about 1931 up through 1939, QST used a cover format that consisted primarily of a half tone photograph of something having to do with an article or feature within that issue (usually), surrounded by a solid red frame.  I refer to these issues as the "Red Jacket Issues".  Just me.  

As the cover art was evolving, something else was evolving with QST : personalities and a unique style all it's own.  QST was becoming less a trade journal, and more an entertainment and information publication, with pen names like "T.O.M." (The Old Man), Hiram Percy Maxim, President and fearless ARRL leader himself, "The Dixie Squinch Owl", written in a style that fall somewhere between Will Rogers and Colonel Sanders.  Not only was "the Squinch" funny, he also touched upon subjects of morality, including racial equality!  It might be said that of all intellectual and academic endeavors, there was never a racial barrier in obtaining a DOC or FCC Ham Ticket!  I think, in a way, we were ALL ahead of the curve, there.  

One of the guys that got me into Ham Radio was an African American Technician Class Op, Al Harmon, in Philadelphia, 1969.  He was an avid 6-meter VHFer who would regularly work into New Jersey using a 10 watt Lafayette AM rig and a Squalo bumper mounted 6m folded dipole array.  Operated a nice station since the early 1950s. He operated hand in hand with his white counterparts during the riots.  There was no divide. We were all brothers in a very unique fraternity.

Back to Printing and Wireless:

Comic illustration was coming into it's own in QST.  From the mid 1920s, up into the very early 30s, Otto Eppers, W6EA did the bulk of the comic illustration, but he eventually left, applying his almost Robert Crumb stylings and caricatures for more commercial ventures, doing ads for Itel McCullough and Taylor Tubes. (Actually, I might be more accurate to say that San Fransisco's Robert Crumb may have been heavily influenced by Otto Eppers!")  Taking his place at QST came the unassuming Phil Gildersleeve, possibly one of the most iconic comic illustrators - and least known - in the 20th century.  Unknown because he only drew for one magazine: QST.  Well . . . perhaps.  I suspect he moonlighted for the competition once or twice.  I have a 1937 edition of Radio magazine featuring "Scratchi", the fictitious ham from Osockme Japan, which was a quasi-regular article taking the form of a letter to the editor from said Hashfisti Scratchi, in very broken English. The article artwork is clearly, unmistakably, the handiwork of none other than Phil Gildersleeve.

Ahh, but this is fodder for another installment.  Time for me and my ol' buddy Scratchi to say "Ima no wakare" until next time!

73!

-gary

G. Johanson, Printer, the Paper Wren Press.

Our New Arrival!

On Saturday, December 14th, a new arrival was included as part of the arsenal at Paper Wren Press, a 1980 Yaesu FT-101EX.  This is the "no frills" model featuring NO 12v. power supply, NO speech processor, and NO ten meter (a) and (c) xtals.  No, No, NO!!!   It's the "NO!" Rig.  What she IS going to feature is . . . a bath and a complete field strip, cleaning, re-furb, re-dressing, and new accessories.

I've always had my eye on these products by Yaesu.  As a Novice back in the 1970s, I just could not afford them.  As a General, it was all I could do to take out a loan and purchase a Kenwood TS-520SE, which was a gorgeous rig, very dependable, and just like this Yaesu: it was the economy strip-down model aimed at us yokels who couldn't afford the really nice stuff.  

But you know?  I wouldn't have had it any other way.  As  novice, I was forced to build.  And build I did.  I made my own transmitters from a chunk of wood - later aluminium, a couple tubes, and a lot of wire and visits to the Military Surplus store in town.  I made my own primitive receivers, later designing a simple supherhet which I called a Regenerodyne.  If you google "Regenerodyne", you will now find the nomenclature to be fairly common and widespread. I wrote a program called "TubePad" to help me build, and later share what I was building on this new thing called an "Internet".  Thus, having to build brought me to where I am today.  Still broke, but having lots of great memories. From building, I got into restoring old radios, and a lot of great rigs have crossed my bench.  Classics.

And now, I have another classic.

So, sit back, pour up some coffee, and enjoy the Show and Tell as I clean up my new rig!

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When I received the radio, it had been stored in a garage for a number of years.  A Florida garage. This spells humidity and heat.  Perfect ingredients for Oxidation of metal.  When the radio got home, her filaments either would not light, or lit for brief seconds and go out again. Her receiver had trouble finding a clear connection somewhere on her audio control for sound to get through to the speaker.  The band switch was very touch and go.  Nothing was making a solid connection.  No idle current to the finals when I could get the filaments to light on the finals.  My options were pretty obvious: do the deed.  Tear her down and give her a good going over with the radio restorer's best friend: DeOxit.  

This is not a commercial for DeOxit.  But it might be (grin).  DeOxit is a lubricating and penetrating oxidation inhibitor.  I get in a squeeze bottle, capped with a hypodermic needle-like cap.  It permits me to apply this stuff in the hardest to get to places.  It not only dissolves the oxidation, it also applies a conductive and protective coating which prevents, or at least inhibits future oxidation.  Oxidation is simply a molecular change in a metal that creates a less-than-conductive electronic environment. It makes a conductive surface, like, say, copper - less so.  If this oxidation forms a bridge between two connections that are meant to be isolated from each other, it is a "semi-conductor short".  Sometimes the crystals formed by such oxidation take on properties of a semiconductor diode, capable of detecting wireless signals.  They reduce current and introduce gobbs of noise.

DeOxit also has "DeOxit Gold", which is the same, only on steroids.  I used both DeOxit and DeOxit Gold.  This stuff is expensive, but I have managed to keep this little bottle for over twenty years now, so it lasts a long, long time.

Taking apart a "modern" transceiver can be a challenge just to keep track of all the screws, switches, buttons and knobs that have to be removed.  I kept track on the print shop floor using labels and old film canisters which were not only marked, but also showed the positions of the knobs when I removed them from the front panel.

The beauty of the FT-101 series of radios is their modular construction.  This is what made what normally takes days, even weeks - take only one day.  Twelve hours, to be exact.  I gave a liberal dose of DeOxit to both the copper traces on the slides, and the receiving slots.

There are a number of these plug in modules, I think something like six or seven.  You have to be careful when inserting them back into these slotted receptacles, because they are not keyed: it is possible to place them into either the wrong socket, or backward.  I numbered each one and drew a direction arrow on them.  The  larger module in this photo indicates by that obvious space that I need to find a CW filter.  I think Yaesu's CW filter was along the order of 600 Hz. 

This is the view within the "cage" where the finals reside.  These tubes have around 6-700v. coming off their "top hats".  A lot of radio frequency energy (RF) circulates around this area, which is why a conductive shield cage is placed around this part of the transmit portion of this radio.  It serves both as a physical safety against shock hazard, and keeps stray RF energy down to a dull roar, so it doesn't go leaking out and into your Hi-Fi (my what?) - the neighbours TV set, or your computer's sound card.  

You can see the socket which the changeover relay plugs into.  I removed it to clean the pins and socket.

Here's a 'bird's-eye' of the FT-101 with four of the modules removed.  This was quite a revolutionary design in transmitters and receivers back in the 1970s.  Yaesu used actual computer slot receptacles as they were known thirty and forty years ago.  A tip for you enterprising DIYers: make sure you photograph what you do, and mark those things you remove so you not only know where things go back, but in what position or direction!

Here she is with the modules re-inserted.  Just as a reference, I will be doing the equivalent of what I am doing here on a Drake TR-3.  The TR-3 will probably take about a week. Not that I mind, it's the usual amount of time.  In all fairness, the TR-3 is about ten years older, and will require re-capping.  The FT-101 shown here can go a few years before I have to do that.  Notice those electrolytics at the center top of the rig?  Those are the newer type low profile filter caps.  Even though they are 34 years old come 2014, they appear to be holding and discharging just fine!  If they were the older "Atom" type electrolytics, it might have been a different story!

Close inspection of the bottom wiring, and the hard-wiring in the "cage" showed no obvious signs of over-heating, shorts, opens or bypass issues.  Usually, I'll look closely at any resistor in series or parallel with a capacitor.  They usually tell the story, both on the resistor itself, and it's associated capacitor.  While, to be absolutely sure, one must lift any cap and resistor from ground and take measurements, I felt no real need to go that far.  This rig has common storage issues, but no cold solder or heat related issues, and almost all the caps are mica.  Ceramic hi-volt caps usually have a long shelf life, too.  Paper, molded and electrolytics are the main source of old-age issues.

Thus, observing no further issues, I just blew out the dust, slid the cabinet back on and screwed on the bottom plate.

The last thing I did was to re-set the bias to read 50mA idle current.  I did not feel the need to neutralize the finals.  I think sometimes we dig larger holes than we need to when we get into these rigs - something that restoring radios have in common with restoring old printing presses. Resisting the urge to take everything apart...because you can.

I might add that I did replace the plastic transparent protective cover.  That was pretty involved.  I had to use two sheets of medium-thick transparency stock, the type used to photocopy transparencies.  I used two because I did not have one that was wide enough to cover the entire front in a single piece. They meet at the middle of the front panel.  The escutcheon and vernier dial take up most of this area on the front panel, so the seam isn't noticeable at all!  I cut the holes with an Exacto knife.  The escutcheon and dial knob screws are holding the new Mylar transparency frontspiece in place very nicely!  Also, if you look at the power and heater switches, you might notice that I put a black border around each to cover some pretty bad scratches where larger areas of paint had been removed.  This was done with black electricians tape.  The Mylar transparency cover goes a long way hiding the fact that it's actually plastic electricians tape, and not paint!

Here's a close-up of the switches and their new 'borders' under the Mylar transparency.  Oh, I also touched up the scratches on the black part of the escutcheon, too.  Those marks you see in the photo are more of an anomaly of my digital camera, not actually something on the chrome part of the escutcheon.

Here she is.  Isn't she pretty?  That reflection on the bottom of the front panel is not a buckle in the mylar, it's actually some other random reflection.  The new plastic cover is perfectly placed.

Here is the FT-101EX installed in it's new operating position in the Print Shop at Paper Wren Press.  She sets upon a Dentron MT 3000A antenna tuner.  To the right is my Champion Bug, D-104 mic, Sure-444 mic, and trusty cup o' Joe.  My military head-sets from the 1950s lie atop the rig.  She runs at 100 watts on her original finals and driver.  She will peak at 150 watts on Sideband.  I have as yet to check out AM on here, but she'll probably do about fifty watts or so on that mode.

Here are my two major code-copying tools.  A pad of paper, a good pen, and my awesome 1955 Office Smith & Corona!  The typewriter serves as a "mill" for what is called "mill copy", an audio form of "touch typing".  I am trying to build my code speed back to my former 35 wpm.

While moving things around to make room for the FT-101, I came across a batch of my old QSL cards that I used in my vintage Boat Anchor days back in the 1990s.  These are all letterpress printed from one of the largest iron Gordon-style platen handpresses made in America, the Kelsey 9x13.  These will be reprinted soon.  If you, dear reader, might like some of this sort of vintage letterpress printed QSL stationery to grace your vintage station, contact Paper Wren Press at gary@paperwrenpress.com, or wd4nka@aim.com

A few close-ups of both the white and green cards and their respective envelopes.  White was for domestic contacts, the green was for foreign contacts.

And this, of course, is the Letterpress Connection.  So far, it's been just been QSL cards, but there are other connections, which we will explore.

That's it for now gang!  And a Great and Merry Christmas to you all!

-gary // wd4nka

QSL Cards

I've always been a collector.  It started with collecting coins.

There was an ad on the back page of  comic books back in the early sixties featuring an 1804 silver dollar.  It read something to the effect : "If you find this coin, it's worth $25,000" !   The implication was that you might find this coin in change. Yeah, in 1959.  So every evening mom and dad would dump their change and my sister and I would pour  over each and every coin, hunting treasure.  The elusive 1804 silver dollar never surfaced, but we did find some neat older coins just the same.  I found a 1914 half dollar, once.  We found a lot of  Buffalo nickels, and I think we had an assortment of 1909 pennies. Maybe an Indian Head penny or two. I think a morgan head dime might have made an appearance.

Needless to say:  was I turned on to collecting coins.  Maybe too turned on.

When my parents noticed that I had taken to lifting old coins from the church collection plate as it passed by me, they realized that a change was needed in my collecting habits.  When we got home from church that day, dad sat me down by the kitchen counter by where our incoming mail was stacked.  He pulled out an envelope and directed my attention to the green one cent 1954 regular postal issue postage stamp affixed to it (the one with Washington's portrait).

"You see this stamp Gary??  People COLLECT these things! It's called 'Stamp Collecting' !!"

 That's all it took.  From that second on, I embarked on a life of rummaging, through the mail, through old letters, through my grandparent's attic and every other attic in the neighborhood.  I began checking out library books about Philately in the first grade,  such that by the tender age of twelve, I had memorized both volumes of the 1967 Scotts Catalogs, plus the Minkus American catalog to boot.  I continue collecting to this day.  I attribute Philately to my interest in printing and Letterpress.

Part of my draw to Amateur Radio (I am WD4NKA) comes by way of Philately, or Stamp Collecting.  It  is the postal stationery associated with Amateur Radio that I find as a major area of interest. Another draw was the early Amateur Radio Press, which in the 1920s took the form of private press publications.  My very first Amateur Radio reading materials were a set of 1938 QST magazines given to me by an older ham.  The photos of the ham shacks appearing in these magazines showed the walls of these ham shacks and radio rooms literally covered with "QSL Cards".  Many of these radio shacks were in attics, so the cards covered not only the walls, but the ceiling as well.  I began finding these cards at the Hamfests our local radio club held in town.  1920s and 30s QSL cards were not hard to find in the 1970s. I soon amassed a collection of my own.  It was only a matter of time before I would have my own QSL card, following the pattern of these old QSL cards of the 1920s and 30s.

 

 

My first QSL cards (above) were letterpress printed - of course!  In time, when I began to set up and run a Letterpress Studio from my home, I would procure a 9 x 13 Kelsey front lever press, circa 1903.  Using what few fonts I had, I began copying the format of the older QSL cards, which worked out nicely for me because I was running a 1930s / 1940s era radio station.

I might mention the type used on the green card: the top titling is Litho Shaded, 36pt, the next line 12 pt Caslon 337 Old Style, my call being set in 48 pt Caslon Italic.  The next two lines 12 pt Caslon, then "Wedding Text", a font commonly used for Announcements. The remaining two lines are set in 10pt Caslon 337 Old Style.

My Station at the time featured a 6AG7 / 6L6G MOPA coupled to my regenerative superhet, a "Regenerodyne", housed in a National SRR cabinet. For those times I needed a very selective receiver, I used my BC-453 "Q-5er". My primary communication mode was cw, International Morse Code, using "Kafer", my trusty Vibroplex Champion Bug, and "Blitz", my 8-amp Royal Air Force key that actually saw service during the London Blitz. Ahh, but enough with my stuff, and on to the subject at hand.

So, just what did those old QSL cards of the 1920s and 30s look like?  How were they different than QSLs today?

Truth is, they were actually pretty similar to the cards of today, but with some differences.

Firstly, practically all hams in the 20s and 30s built their own rigs. There was very little in the way of commercially built equipment available to them. When those early hams made contacts, it was owing to the work of their hands, their skill at building and their knowledge of circuitry.  There was a great deal of pride and prestige involved. It was only natural that these amateur radio operators would become an especially tight, close knit fraternity.

These QSL cards are products of that Fraternity, a window into the hand-crafted technological world which was then the State of the Art.

The word "QSL" is part of the international Q-signals, a type of short-hand that means, literally, "confirmation of receipt of message".  These "Q" signals were used to speed along code transmissions and to simplify and clarify communications.  When a station sent "QSL?", they were asking "Did you copy everything?  Was I understood?", and the receiving station might send "FB OM QSL ON ALL" or something similar.  It means "Fine business Old Man, I copied everything and everything has been understood."

A QSL card serves as documentation of any contact for which it is sent.  The information written on the card will mirror much of the information entered in the Station Log.  Each QSL card indicates the date of the contact, the frequency, originally in kc (kilocycles) or mc (megacycles), later kHz and mHz (kilohertz and megahertz), the mode of transmission, the quality or condition of the signal received during the contact.  The old cards usually carried some sort of hand written description of the transmitter, and often a fairly detailed description of the receiver.  These descriptions became less involved as more and more store-bought equipment became increasingly commonplace in the Ham Shack.  

Through the latter 'teens, and through the twenties, cards largely described the transmitters in terms of exciter type and power to the antenna.  As tubes became more prevalent, replacing the old Spark Wireless transmitters, circuit types and final amp tubes, or what the British call "Valves" - a more accurate term - started to be indicated by types.  A Hartley self excited oscillator driving a pair of 810s in parallel, feeding 200 watts to an off-center fed dipole, for instance.  Receivers too, were described by their circuit architecture,  such as a Regenerative Detector and One Step audio into a short wire, or names of favourite designs, such as the "Bearcat 1-v-2", meaning one stage of RF amplification (or isolation, those RF front end amps were usually untuned!), "v" was the detector, 99.9 percent of the time regenerative, and "2" meaning stages of audio amplification.  Sometimes references to "Tuned AF", a form of audio filtering, might be mentioned.

Below are a examples of QSL card images I have collected as I studied their designs.  Many of these really are not only examples of radio history, but also great examples of job printing.  Some of these cards used what was then the latest border and letter fonts offered in the American Type Founders specimen books of that time.  Often the fonts chosen reflected the Art Nuveaux which was popular up into the 1930s.

 The following two cards are my own designs using my call, based upon models from the 1930s.  The nice thing is that since I have the very presses that printed these cards originally, the cards I print are neither replications or imitations.  These are the real deal as ever there was one.  And like me, most of the shops that printed these early cards were local small job shops.  Some were themselves, hams.  Most of them drew upon hand set type and borders.  Some had advantage of Ludlow or Linotype/ Intertype linecasters to help things along.  A few, later cards, began to be stereotyped for mass production late in the 1930s, when QSL cards, like the Ham Radio Press, became something that called for mass production.  Just as the QSL Card was evolving and finding it's place in the world, so were Amateur Radio Publications.  Along with these publications came advertisers, and widespread commercial ads.  

The rest is history.

As I wrap things up, I might add that if there is sufficient interest in vintage QSL cards, I can make these cards available.  Contact:

gary@paperwrenpress.com  or  wd4nka@aim.com

Letterpress meets Wireless here in the form of possibly the most widely sent post card in the world, serving a very important service of documentation - the QSL card.  Today, these cards are slick, four-colour graphic devices offset or digitally printed, if they are printed at all.  Many hams are opting for electronic QSLs, sent via eMail or other digital media.. As a Philatelist, I tend do things the "Old School" way.  There's a real touch and feel value in writing or typing out an actual paper QSL card.  There is an intangible 'something' about receiving a QSL card in the mail.  Something that connects me with my fellow hams of the 1920s. Something that requires my hands to handle, to write, to make.  Just like my homebrew rigs.  Just like the printing of these cards.  And it's here that Wireless meets Letterpress.

CUL, 73

de WD4NKA.