=The Number 2.=—He knows the width of the spade, float, etc., in mils,
and is able to make any shift under two hundred mils, within 5 mils. He
shifts the trail so as to bring the direction of recoil in line with
it (except for moving targets). In receiving empty cases he should not
permit them to strike the trail or throw them against each other, as
they must then be resized before they can be again used. If he sits on
the handspike he must not shift his weight after the piece is laid.
=The Number 3.=—He knows that turning the corrector worm knob clockwise
decreases the setting; turning the range worm crank clockwise increases
the range. In making these settings he keeps his eye squarely over the
scales. He knows his scale settings at all times. He is taught to keep
his fuze setter and its cover clean, and is shown how a small pile of
dirt or wax behind the stop pin or in the rotating pin notch can throw
out his settings and ruin the reputation of his section. Gum from the
fuze often collects in these places. The surest way is to keep a match
stick handy and clean out these places whenever there is a lull in the
firing.
=The Number 4.=—If necessary to reset the fuze he must turn the
projectile until it brings up against the stop pin, then cease all
turning movement and draw the projectile straight out of the fuze
setter. If he continues the turning motion unconsciously he can easily
alter the setting by a fifth of a second. In loading he is careful not
to strike the fuze against the breech and so alter the fuze setting.
=The Number 5.=—He knows where the rotating pin notch is in the fuze
setter, and where the corresponding pin is on the fuze. He places the
fuze so that the pin is seated in the notch with little or no turning
movement and turns rapidly but with no more force than required. He is
careful to set all fuzes with the same force, that is, not turn one
with a violent twist and the next barely up to the stop.
APPENDIX “B”—Comparative table of guns used in World’s War.
Public-domain text, read in full here on John Shaqi.
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