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Welcome to the chaotic, thrilling world of the HF pileup. Whether you are the one calling CQ from a park in Nebraska or the one hunting a rare DX station, success relies on rhythm, frequency management, and a deep understanding of human behavior.

Here is a proper look at how a pileup appears on a modern display, followed by a complete guide on how to survive it.

A “pileup” on shortwave amateur radio frequencies. The main station is at the low frequency, and stays put. The hunters spread out, above, and call on a single frequency somewhere in the calling window of frequencies (I.e., up five to ten).

Over my decades of working Morse code (CW on amateur radio), I have learned a few critical things about how to navigate the chaotic, thrilling world of the HF pileup. When a rare station or a Parks On The Air (POTA) activator goes on the air, dozens or even hundreds of operators might try to make contact at the exact same time. Working a pileup is an art that takes time to master. Whether you are the one calling CQ from a park in Nebraska or the one hunting a rare DX station, success relies on rhythm, frequency management, and a deep understanding of human behavior.

One of the most important strategies is to determine the operating style of the DX station, specifically discerning how that operator scans the pileup for the next station to work. With modern waterfall displays, that process is MUCH easier. As an example, I worked the Temotu DXpedition (H40RH) that had just started a few hours prior to my attempt. I broke through with only five calls into the pileup, and it took me a mere 60 seconds to call and get an answer. Of course, I first listened and watched the waterfall for about five minutes to get a hang of the operating style of H40RH. This was on 10 Meters where 28.026 MHz was the DX frequency. We callers spread out five to 15 kHz UP in frequency from the DX station because we never want to cover up the DX station with our own signals. Even with a long carrier of intentional interference visible on the waterfall, the visual aid of the SDR made the catch possible. Temotu was a new country for my DXCC, so I am incredibly pleased to have made the contact!

When You Are the Hunted (The Activator)

A Guide To Survive The Pileup

When you are the station that everyone wants in their logbook, you are the conductor of the orchestra. If the pileup senses hesitation, chaos ensues. You must dictate the pace, for both CW and SSB operations.

Controlling the Pileup on CW

Establish a Predictable Rhythm: Your CQ, your exchange, and your QRZ should follow a strict pattern. Consistency allows hunters to time their calls perfectly. If you change your cadence, the pileup gets messy.

Run Split for Large Piles: If the pileup merges into a single continuous drone, go split immediately. You might send “UP 1” to tell callers to transmit one kilohertz above your listening frequency. This spreads the callers out. Send your “UP” frequently enough that the self-appointed pileup police do not take over your transmit frequency. I suggest sending “UP” after each successful logged contact (QSO).

Own the Partials: If you only pull “NW7” out of the noise, send “NW7?”. Do not send “QRZ?” immediately. Stick to that partial call until that specific station finishes the exchange. If they fade out, clearly send “QRZ?” to reset the pile.

Adjust Speed to Control Volume: A slight speed increase (bumping up 3 to 5 WPM) will naturally thin the pileup down to the more experienced operators. Dropping your speed will invite the newer operators back in.

Receiver Management: Back off your RF gain and use a wider filter than you might expect (around 400 to 500 Hz). A filter that is too narrow will cause you to miss the operators who are smartly calling slightly off-frequency.

Controlling the Pileup on SSB

Command with Your Voice: Speak clearly and maintain a steady, authoritative tone. Avoid shouting. Just like in CW, a predictable rhythm helps callers know exactly when to key their microphones.

Use Standard Phonetics: Stick strictly to the standard NATO phonetic alphabet (Alpha, Bravo, Charlie). Cute or custom phonetics confuse operators who do not speak English as their first language.

Acknowledge and Isolate: When multiple voices blur together, listen for the last phonetic letter you can understand. If you hear “Sierra,” say “The station ending in Sierra, go ahead.” Ignore everyone else until that station completes the contact.

My POTA / Portable HF station (a low-power, or, QRP, station).

When You Are the Hunter (The Chaser)

When you are trying to break through a massive wall of sound, raw output power is secondary to timing and sharp observation.

Breaking the Pileup on CW

Listen First, Key Second: Before touching the paddle, listen to three or four complete exchanges. If the activator is working split, figure out their pattern. Are they tuning from the bottom up? Top down? Find where they listened last, and place your transmit frequency just above it.

Use XIT (The Golden Rule): Never perfectly zero-beat the DX station if others are calling. To the activator, three zero-beat stations merge into a single tone. Use your Transmitter Incremental Tuning (XIT) to shift your transmit frequency by 30 to 50 Hz. This slight difference in pitch makes your signal pop out of the receiver passband.

Time the Tail-End: Wait for the massive wall of sound to begin fading, and send your call exactly as the main group finishes. A perfectly timed tail-end call lets your suffix ring out in the clear.

Send Once: When the DX sends “QRZ?”, send your callsign exactly once and listen. Sending your call multiple times just causes interference and slows down the entire operation.

Follow Instructions: If the DX sends “NW7?”, and that is not you, keep your hand off the key. Transmitting over the station they are trying to work only prolongs the pileup for everyone.

Breaking the Pileup on SSB

Study the Cadence: Just like with Morse code, listen to the activator to find the rhythm. Wait for the exact moment the activator stops speaking before you key up.

Drop Your Call and Wait: Say your full callsign once using standard phonetics, then unkey and listen. If you are tail-ending, you might just drop the last two letters of your callsign precisely as the noise floor drops.

Adjust Your Pitch: If you have equalization controls on your radio, boost the mid-to-high frequencies on your microphone audio. A slightly punchy and higher-pitched voice will cut through the bass-heavy rumble of a dozen other stations calling at once.

Working a pileup tests your patience and your ear. Whether you are tapping out Morse code or speaking into a microphone, the operator who listens more than they transmit almost always makes the contact first.

Propagation and the Pile-Up

As many of you know, I was the space weather and radio propagation columnist in CQ Amateur Radio Magazine from 2001 through its demise. I strongly advocate for all HF radio operators to understand the basics of radio wave propagation on shortwave frequencies. There are a lot of myths and frankly, horrific theories on how radio waves propagate.

Understanding how the ionosphere refracts radio waves is a crucial tactical advantage. The behavior of a pile-up changes dramatically based on the frequency band you choose and the current mood of our sun.

The Sun Dictates the Rules

The ionosphere is charged by solar radiation. When solar activity is high, higher frequencies become usable for long distances.

Solar Flux Index: The SFI is a great indicator of overall ionization. A higher SFI means better conditions for the higher HF bands. When the SFI climbs, bands like 15, 12, and 10 meters open up globally.

Geomagnetic Storms: Measured by the K-index, these storms can disrupt communications entirely. A high K-index often absorbs signals crossing the polar regions. This can suddenly mute a massive European pile-up for North American operators.

Fading: The ionosphere is always shifting. Signals will constantly rise and fall in strength, which is known as QSB. A smart chaser listens for the rhythm of this fade and throws their callsign into the pile-up exactly when the band peaks for their specific location.

How Bands Shape the Pile-Up

Every amateur radio band has its own personality. The pile-ups you encounter will reflect these differences perfectly.

10, 12, and 15 Meters: These high bands are daytime frequencies that thrive on high solar activity. When 10 meters opens up, signals can be astonishingly loud with very low atmospheric noise. Pile-ups here can ignite suddenly and stretch very wide across the frequency spectrum.

20 Meters: This is the traditional workhorse band for global communication. Pile-ups on 20 meters are massive, sustained, and densely packed. You will often compete with high-power stations and massive beam antennas on this frequency day or night.

40 and 80 Meters: These low bands come alive at night. They are heavily affected by atmospheric noise and static crashes. Breaking a pile-up here requires an exceptionally well-tuned ear and the ability to pull faint CW tones or muffled voices out of a very high noise floor.

The Skip Zone Effect

The propagation of radio waves.

One of the most confusing aspects of a pile-up for a new operator is the skip zone. Radio waves bounce off the ionosphere and return to earth far away, which means they skip right over the geographic areas in between. You might hear the DX station perfectly, but you might not hear the hundreds of other operators calling them because those callers are inside your skip zone. This phenomenon is exactly why you must rely on the DX station’s cadence rather than waiting to hear the pile-up clear.

While raw power is often cited as the key to breaking a pile-up, your antenna system plays a far more decisive role in your overall effectiveness. A directional antenna, like a Yagi or a hexbeam, not only focuses your transmitted energy directly toward the DX station but also actively rejects interfering signals from other directions. However, do not be discouraged if you are running a simple wire antenna. A well-placed dipole or end-fed half-wave can still break monumental pile-ups if you leverage good timing, exploit the skip zone, and listen closely to the DX operator. Ultimately, the best antenna in the world cannot compensate for poor operating habits.

Over to You

Working a pile-up is one of the most rewarding challenges in amateur radio. It tests your patience, refines your ear, and forces you to understand both the science of radio wave propagation and the psychology of your fellow operators. Every massive wall of sound is a puzzle waiting to be solved.

Now, I would love to hear from you. What was your most memorable pile-up experience? Do you have a specific tactic that consistently helps you break through the noise, or perhaps a frustrating moment that taught you a valuable lesson? Drop your stories and questions in the comments below, and let us keep the conversation going.

From my shack to yours, 73 de NW7US.

Meme: Car and Woman Arguing, 73

“Best regardses” and “Best regards’s”

That’s silly, of course. We who speak and write in the English language know that you should not pluralize a word that is already in its plural form. “Best regards” means, “I wish you the best of regards.” It is implied that there is more than one regard. Perhaps there are a few, perhaps many more. It then is clear that we wouldn’t normally pluralize “regards,” into, “regardses.”

It is also silly to say that the best of regards owns something.  How can a regard let alone a group of regards own anything?  So, why “73’s” when written?

Old SWLer QSL Card With 73’s

The usage of “73” comes from early landline telegraph (typically railroad telegraphy landlines). Originally devised in the era of telegraphs, 73 and other numbers were used to speed up the transmission of common messages over landlines by mapping common messages to these specific numbers.  And, numbers were quicker to send than the longer messages the numbers replaced.

QST, April 1935, on page 60, contains a short article on the origin of the amateur radio vernacular, 73. This article was a summation of another article that appeared in the “December Bulletin from the Navy Department Office of the Chief of Naval Operations,” published December of 1934.

A skilled landline Morse code operator, in action.

Here’s a quotation from that Navy article:

“It appears from a research of telegraph histories that in 1859 the [land-line] telegraph people held a convention, and one of its features was a discussion as to the saving of ‘line time.’

A committee was appointed to devise a code to reduce standard expressions to symbols or figures. This committee worked out a figure code, from figure 1 to 92.

Most of these figure symbols became obsolescent, but a few remain to this date, such as 4, which means “Where shall I go ahead?’. Figure 9 means ‘wire,’ the wire chief being on the wire and that everyone should close their keys. Symbol 13 means ‘I don’t understand’; 22 is ‘love and a kiss’; 30 means ‘good night’ or ‘the end.’

The symbol most often used now is 73, which means ‘my compliments’ and 92 is for the word ‘deliver.’ The other figures in between the forgoing have fallen into almost complete disuse.”

We can see, then, that “73” mapped to “best regards” or “my compliments” and was intended as a general valediction for transmitted messages.  That’s why it is silly to say, “73s,” as that maps to, “best regardses” – 73s adds the plural to a plural.  (And, don’t make it possessive, as in using, “73’s” – a regard cannot own something).

Cartoon: Jeeves, there is no plural for 73…

For reference and some more interesting background on this, see http://www.signalharbor.com/73.html

An example of on-the-air conversation (or, QSO—“QSO” is the shorthand Q-code for, “two-way exchange of communications”) illustrates proper usage of 73. When saying your goodbye, you would tap out the Morse code as follows:

TNX FER FB QSO. C U AGN. 73 ES HPY NEW YR.

That is interpreted as, “Thanks for the fine-business chat. I hope to see you again for another chat. Best regards and happy new year.”

This, if you choose to throw around shorthand Morse code number codes when you are speaking, you wouldn’t say, “73s.” You would say, “73.”

The Old Man Hiram Percy Maxim 1AW used 73’s on his QSL cards.

My friend, David Edenfield, opined, “This idea is beyond turning into glue from the dead horse it’s beating again. This is so petty to be concerned with this. Even the Old Man Hiram Percy Maxim 1AW used 73s on his QSL cards.”

Well, even Hiram Percy Maxim has been incorrect and incorrectly used grammar. (chuckle)

There is something to be said about teaching new amateur radio operators the best of our traditions, history, skills, procedures, protocols, ethics, and culture. There’s no rational argument that can make a case that allowing these aspects of our service and hobby to degrade over time (by the lack of Elmering) is a good way to see our service and hobby thrive and progress.

I don’t see any slippage from high standards as being a good strategy for nurturing growth, progress, and effectiveness of our service and hobby. Keeping some level of excellence in every aspect of our hobby can only be beneficial.

In this case, how many new hams that learn to repeat ham lingo know anything of the history behind the common “73?” My dead horse turned glue is educational and it is my belief that educating about origins elevates the current.

73 – NW7US

NW7US QSL Card (circa 2019)

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Shortwave radio has been a source for great sci-fi plots, spy intrigue novels, movies, and so on, since radio first became a “thing.” But, what is the big deal, really? What is it that amateur radio operators listen to?

In this video, I share some of the types of signals one might hear on the high frequencies (also known as shortwave or HF bands). This is the first video in an on-going series introducing amateur radio to the interested hobbyist, prepper, and informed citizen.

I often am asked by preppers, makers, and other hobbyists, who’ve not yet been introduced to the world of amateur radio and shortwave radio: “Just what do you amateur radio operators hear, on the amateur radio shortwave bands?”

To begin answering that question, I’ve taken a few moments on video, to share from my perspective, a bit about this shortwave radio thing:

Link to video: https://youtu.be/pIVesUzNP2U — please share with your non-ham friends.

From my shortwave website:

Shortwave Radio Listening — listen to the World on a radio, wherever you might be. Shortwave Radio is similar to the local AM Broadcast Band on Mediumwave (MW) that you can hear on a regular “AM Radio” receiver, except that shortwave signals travel globally, depending on the time of day, time of year, and space weather conditions.

The International Shortwave Broadcasters transmit their signals in various bands of shortwave radio spectrum, found in the 2.3 MHz to 30.0 MHz range. You might think that you need expensive equipment to receive these international broadcasts, but you don’t! Unlike new Satellite services, Shortwave Radio (which has been around since the beginning of the radio era) can work anywhere with very affordable radio equipment. All that you need to hear these signals from around the World is a radio which can receive frequencies in the shortwave bands. Such radios can be very affordable. Of course, you get what you pay for; if you find that this hobby sparks your interest, you might consider more advanced radio equipment. But you would be surprised by how much you can hear with entry-level shortwave receivers. (You’ll see some of these radios on this page).

You do not need a special antenna, though the better the antenna used, the better you can hear weaker stations. You can use the telescopic antenna found on many of the portable shortwave radios now available. However, for reception of more exotic international broadcasts, you should attach a length of wire to your radio’s antenna or antenna jack.

Check out books on radio…

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