Recherche avancée

Sur d’autres sites (6515)

• Grand Unified Theory of Compact Disc

  1er février 2013, par Multimedia Mike — General

  This is something I started writing about a decade ago (and I almost certainly have some of it wrong), back when compact discs still had a fair amount of relevance. Back around 2002, after a few years investigating multimedia technology, I took an interest in compact discs of all sorts. Even though there may seem to be a wide range of CD types, I generally found that they’re all fundamentally the same. I thought I would finally publishing something, incomplete though it may be.

  Physical Perspective
  There are a lot of ways to look at a compact disc. First, there’s the physical format, where a laser detects where pits/grooves have disturbed the smooth surface (a.k.a. lands). A lot of technical descriptions claim that these lands and pits on a CD correspond to ones and zeros. That’s not actually true, but you have to decide what level of abstraction you care about, and that abstraction is good enough if you only care about the discs from a software perspective.

  Grand Unified Theory (Software Perspective)
  Looking at a disc from a software perspective, I have generally found it useful to view a CD as a combination of a 2 main components :

  • table of contents (TOC)
  • a long string of sectors, each of which is 2352 bytes long

  I like to believe that’s pretty much all there is to it. All of the information on a CD is stored as a string of sectors that might be chopped up into a series of anywhere from 1-99 individual tracks. The exact sector locations where these individual tracks begin are defined in the TOC.

  Audio CDs (CD-DA / Red Book)
  The initial purpose for the compact disc was to store digital audio. The strange sector size of 2352 bytes is an artifact of this original charter. “CD quality audio”, as any multimedia nerd knows, is formally defined as stereo PCM samples that are each 16 bits wide and played at a frequency of 44100 Hz.
  

  (44100 audio frames / 1 second) * (2 samples / audio frame) * 
    (16 bits / 1 sample) * (1 byte / 8 bits) = 176,400 bytes / second
  (176,400 bytes / 1 second) / (2352 bytes / 1 sector) = 75
  

  75 is the number of sectors required to store a single second of CD-quality audio. A single sector stores 1/75th of a second, or a ‘frame’ of audio (though I think ‘frame’ gets tossed around at all levels when describing CD formats).

  The term “red book” is thrown around in relation to audio CDs. There is a series of rainbow books that define various optical disc standards and the red book describes audio CDs.

  Basic Data CD-ROMs (Mode 1 / Yellow Book)
  Somewhere along the line, someone decided that general digital information could be stored on these discs. Hence, the CD-ROM was born. The standard model above still applies– TOC and string of 2352-byte sectors. However, it’s generally only useful to have a single track on a CD-ROM. Thus, the TOC only lists a single track. That single track can easily span the entire disc (something that would be unusual for a typical audio CD).

  While the model is mostly the same, the most notable difference between and audio CD and a plain CD-ROM is that, while each sector is 2352 bytes long, only 2048 bytes are used to store actual data payload. The remaining bytes are used for synchronization and additional error detection/correction.

  At least, the foregoing is true for mode 1 / form 1 CD-ROMs (which are the most common). “Mode 1″ CD-ROMs are defined by a publication called the yellow book. There is also mode 1 / form 2. This forgoes the additional error detection and correction afforded by form 1 and dedicates 2336 of the 2352 sector bytes to the data payload.

  CD-ROM XA (Mode 2 / Green Book)
  From a software perspective, these are similar to mode 1 CD-ROMs. There are also 2 forms here. The first form gives a 2048-byte data payload while the second form yields a 2324-byte data payload.

  Video CD (VCD / White Book)
  These are CD-ROM XA discs that carry MPEG-1 video and audio data.

  Photo CD (Beige Book)
  This is something I have never personally dealt with. But it’s supposed to conform to the CD-ROM XA standard and probably fits into my model. It seems to date back to early in the CD-ROM era when CDs were particularly cost prohibitive.

  Multisession CDs (Blue Book)
  Okay, I admit that this confuses me a bit. Multisession discs allow a user to burn multiple sessions to a single recordable disc. I.e., burn a lump of data, then burn another lump at a later time, and the final result will look like all the lumps were recorded as the same big lump. I remember this being incredibly useful and cost effective back when recordable CDs cost around US$10 each (vs. being able to buy a spindle of 100 CD-Rs for US$10 or less now). Studying the cdrom.h file for the Linux OS, I found a system call named CDROMMULTISESSION that returns the sector address of the start of the last session. If I were to hypothesize about how to make this fit into my model, I might guess that the TOC has some hint that the disc was recorded in multisession (which needs to be decided up front) and the CDROMMULTISESSION call is made to find the last session. Or it could be that a disc read initialization operation always leads off with the CDROMMULTISESSION query in order to determine this.

  I suppose I could figure out how to create a multisession disc with modern software, or possibly dig up a multisession disc from 15+ years ago, and then figure out how it should be read.

  CD-i
  This type puzzles my as well. I do have some CD-i discs and I thought that I could read them just fine (the last time I looked, which was many years ago). But my research for this blog post has me thinking that I might not have been seeing the entire picture when I first studied my CD-i samples. I was able to see some of the data, but sources indicate that only proper CD-i hardware is able to see all of the data on the disc (apparently, the TOC doesn’t show all of the sectors on disc).

  Hybrid CDs (Data + Audio)
  At some point, it became a notable selling point for an audio CD to have a data track with bonus features. Even more common (particularly in the early era of CD-ROMs) were computer and console games that used the first track of a disc for all the game code and assets and the remaining tracks for beautifully rendered game audio that could also be enjoyed outside the game. Same model : TOC points to the various tracks and also makes notes about which ones are data and which are audio.

  There seems to be 2 distinct things described above. One type is the mixed mode CD which generally has the data in the first track and the audio in tracks 2..n. Then there is the enhanced CD, which apparently used multisession recording and put the data at the end. I think that the reasoning for this is that most audio CD player hardware would only read tracks from the first session and would have no way to see the data track. This was a positive thing. By contrast, when placing a mixed-mode CD into an audio player, the data track would be rendered as nonsense noise.

  Subchannels
  There’s at least one small detail that my model ignores : subchannels. CDs can encode bits of data in subchannels in sectors. This is used for things like CD-Text and CD-G. I may need to revisit this.

  In Summary
  There’s still a lot of ground to cover, like how those sectors might be formatted to show something useful (e.g., filesystems), and how the model applies to other types of optical discs. Sounds like something for another post.

• Elacarte Presto Tablets

  14 mars 2013, par Multimedia Mike — General

  I visited an Applebee’s restaurant this past weekend. The first thing I spied was a family at a table with what looked like a 7-inch tablet. It’s not an uncommon sight. However, as I moved through the restaurant, I noticed that every single table was equipped with such a tablet. It looked like this :

  
  
  

  For a computer nerd like me, you could probably guess that I was be far more interested in this gadget than the cuisine. The thing said “Presto” on the front and “Elacarte” on the back. Putting this together, we get the website of Elacarte, the purveyors of this restaurant tablet technology. Months after the iPad was released on 2010, I remember stories about high-end restaurants showing their wine list via iPads. This tablet goes well beyond that.

  How was it ? Well, confusing, mostly. The hostess told us we could order through the tablet or through her. Since we already knew what we wanted, she just manually took our order and presumably entered it into the system. So, right away, the question is : Do we order through a human or through a computer ? Or a combination ? Do we have to use the tablet if we don’t want to ?

  Hardware
  When picking up the tablet, it’s hard not to notice that it is very heavy. At first, I suspected that it was deliberately weighted down as some minor attempt at an anti-theft measure. But then I remembered what I know about power budgets of phones and tablets– powering the screen accounts for much of the battery usage. I realized that this device needs to drive the screen for about 14 continuous hours each day. I.e., the weight must come from a massive battery.

  The screen is good. It’s a capacitive touchscreen, so nice and responsive. When I first spied the device, I felt certain it would be a resistive touchscreen (which is more accurately called a touch-and-press-down screen). There is an AC adapter on the side of the tablet. This is the only interface to the device :

  
  
  

  That looks to me like an internal SATA connector (different from an eSATA connector). Foolishly, I didn’t have a SATA cable on me so I couldn’t verify.

  User Interface
  The interface options are : Order, Games, Neighborhood, and Pay. One big benefit of accessing the menu through the Order option is that each menu item can have a picture. For people who order more by picture than text description, this is useful. Rather, it would be, if more items had pictures. I’m not sure there were more pictures than seen in the print menu.
  
  For Games, there were a variety of party games. The interface clearly stated that we got to play 2 free games. This implied to me that further games cost money. We tried one game briefly and the food came.

  2 more options : Neighborhood– I know I dug into this option, but I forget what it was. Maybe it discussed local attractions. Finally, Pay. This thing has an integrated credit card reader. There is no integrated printer, though, so if you want one, you will have to request one from a human.

  Experience
  So we ordered through a human since we didn’t feel like being thrust into this new paradigm when we just wanted lunch. The staff was obviously amenable to that. However, I got a chance to ask them a lot of questions about the particulars. Apparently, they have had this system for about 5 months. It was confirmed that the tablets do, in fact, have gargantuan batteries that have to last through the restaurant’s entire business hours. Do they need to be charged every night ? Yes, they do. But how ? The staff described this several large charging blocks with many cables sprouting out. Reportedly, some units still don’t make it through the entire day.

  When it was time to pay, I pressed the Pay button on the interface. The bill I saw had nothing in common with what we ordered (actually, it was cheaper, so perhaps I should have just accepted it). But I pointed it out to a human and they said that this happens sometimes. So they manually printed my bill. There was a dollar charge for the game that was supposed to be free. I pointed this out and they removed it. It’s minor, I know, but it’s still worth trying to work out these bugs.

  One of the staff also described how a restaurant doesn’t need to employ as many people thanks to the tablet. She gave a nervous, awkward, self-conscious laugh when she said this. All I could think of was this Dilbert comic strip in which the boss realizes that his smartphone could perform certain key functions previously handled by his assistant.

  Not A New Idea
  Some people might think this is a totally new concept. It’s not. I was immediately reminded of my university days in Boulder, Colorado, USA, circa 1997. The local Taco Bell and Arby’s restaurants both had touchscreen ordering kiosks. Step up, interact with the (probably resistive) touchscreen, get a number, and step to the counter to change money, get your food, and probably clarify your order because there is only so much that can be handled through a touchscreen.

  What I also remember is when they tore out those ordering kiosks, also circa 1997. I don’t know the exact reason. Maybe people didn’t like them. Maybe there were maintenance costs that made them not worth the hassle.

  Then there are the widespread self-checkout lanes in grocery stores. Personally, I like those, though I know many don’t. However, this restaurant tablet thing hasn’t won me over yet. What’s the difference ? Perhaps that automated lanes at grocery stores require zero external assistance– at least, if you do everything correctly. Personally, I work well with these lanes because I can pretty much guess the constraints of the system and I am careful not to confuse the computer in any way. Until they deploy serving droids, or at least food conveyors, there still needs to be some human interaction and I think the division between the human and computer roles is unintuitive in the restaurant case.

  I don’t really care to return to the same restaurant. I’ll likely avoid any other restaurant that has these tablets. For some reason, I think I’m probably supposed to be the ideal consumer of this concept. But the idea will probably perform all right anyway. Elacarte’s website has plenty of graphs demonstrating that deploying these tablets is extremely profitable.

• Sequencing MIDI From A Chiptune

  28 avril 2013, par Multimedia Mike — Outlandish Brainstorms

  The feature requests for my game music appreciation website project continue to pour in. Many of them take the form of “please add player support for system XYZ and the chiptune library to go with it.” Most of these requests are A) plausible, and B) in process. I have also received recommendations for UI improvements which I take under consideration. Then there are the numerous requests to port everything from Native Client to JavaScript so that it will work everywhere, even on mobile, a notion which might take a separate post to debunk entirely.

  But here’s an interesting request about which I would like to speculate : Automatically convert a chiptune into a MIDI file. I immediately wanted to dismiss it as impossible or highly implausible. But, as is my habit, I started pondering the concept a little more carefully and decided that there’s an outside chance of getting some part of the idea to work.

  Intro to MIDI
  MIDI stands for Musical Instrument Digital Interface. It’s a standard musical interchange format and allows music instruments and computers to exchange musical information. The file interchange format bears the extension .mid and contains a sequence of numbers that translate into commands separated by time deltas. E.g. : turn key on (this note, this velocity) ; wait x ticks ; turn key off ; wait y ticks ; etc. I’m vastly oversimplifying, as usual.

  MIDI fascinated me back in the days of dialup internet and discrete sound cards (see also my write-up on the Gravis Ultrasound). Typical song-length MIDI files often ranged from a few kilobytes to a few 10s of kilobytes. They were significantly smaller than the MOD et al. family of tracker music formats mostly by virtue of the fact that MIDI files aren’t burdened by transporting digital audio samples.
  
  I know I’m missing a lot of details. I haven’t dealt much with MIDI in the past… 15 years or so (ever since computer audio became a blur of MP3 and AAC audio). But I’m led to believe it’s still relevant. The individual who requested this feature expressed an interest in being able to import the sequenced data into any of the many music programs that can interpret .mid files.

  The Pitch
  To limit the scope, let’s focus on music that comes from the 8-bit Nintendo Entertainment System or the original Game Boy. The former features 2 square wave channels, a triangle wave, a noise channel, and a limited digital channel. The latter creates music via 2 square waves, a wave channel, and a noise channel. The roles that these various channels usually play typically break down as : square waves represent the primary melody, triangle wave is used to simulate a bass line, noise channel approximates a variety of percussive sounds, and the DPCM/wave channels are fairly free-form. They can have random game sound effects or, if they are to assist in the music, are often used for more authentic percussive sounds.

  The various channels are controlled via an assortment of memory-mapped hardware registers. These registers are fed values such as frequency, volume, and duty cycle. My idea is to modify the music playback engine to track when various events occur. Whenever a channel is turned on or off, that corresponds to a MIDI key on or off event. If a channel is already playing but a new frequency is written, that would likely count as a note change, so log a key off event followed by a new key on event.

  There is the major obstacle of what specific note is represented by a channel in a particular state. The MIDI standard defines 128 different notes spanning 11 octaves. Empirically, I wonder if I could create a table which maps the assorted frequencies to different MIDI notes ?

  I think this strategy would only work with the square and triangle waves. Noise and digital channels ? I’m not prepared to tackle that challenge.

  Prior Work ?
  I have to wonder if there is any existing work in this area. I’m certain that people have wanted to do this before ; I wonder if anyone has succeeded ?

  Just like reverse engineering a binary program entails trying to obtain a higher level abstraction of a program from a very low level representation, this challenge feels like reverse engineering a piece of music as it is being performed and automatically expressing it in a higher level form.