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• Ode to the Gravis Ultrasound

  1er août 2011, par Multimedia Mike — General

  WARNING : This post is a bunch of nostalgia. Feel free to follow along if you recall the DOS days of the early-mid 1990s.

  I finally let go of my Gravis Ultrasound MAX sound card a little while ago. It felt like the end of an era for me, even though I had scarcely used the card in recent memory.

  
  
  

  The Beginning
  What is the Gravis Ultrasound ? Only the finest PC sound card from the classic DOS days. Back in the day (very early 1990s), most consumer PC sound cards were Yamaha OPL FM synthesizers paired with a basic digital to analog converter (DAC). Gravis, a company known for game controllers, dared to break with the dominant paradigm of Sound Blaster clones and create a sound card that had 32 digital channels.
  
  I heard about the GUS sometime in 1992 through one of the dominant online services at the time, Prodigy. Through the message boards, I learned of a promotion with Electronic Arts in which customers could pre-order a GUS at a certain discount along with 2 EA games from a selected catalog (with progressive discounts when ordering more games from the list). I know I got the DOS version of PowerMonger ; I think the other was Night Shift, though that doesn’t seem to be an EA title.

  Anyway, 1992 saw many maddening delays of the GUS hardware. Finally, reports of GUS shipments began to trickle into the Prodigy message forums. Then one day in November, 1992, mine arrived. Into the 286 machine it went and a valiant attempt at software installation was made. A friend and I fought with the software late into the evening, trying to make this thing work reasonably. I remember grabbing a pair of old headphones sitting near the computer that were used for an ancient (even for the time) portable radio. That was the only means of sound reproduction we had available at that moment. And it still sounded incredible.

  After graduating to progressively superior headphones, I would later return to that original pair only to feel my ears were being physically assaulted. Strange, they sounded fine that first night I was trying to make the GUS work. I guess this was my first understanding that the degree to which one is a snobby audiophile is all a matter of hard-earned experience.

  Technology
  The GUS was powered by something called a GF1 which was supposed to use a technology called wavetable synthesis. In the early days, I thought (and I wasn’t alone in this) that this meant that the GF1 chip had a bunch of digitized instrument samples stored in the ASIC. That wasn’t it.

  However, it did feature 32 digital channels at a time when most PC audio cards had 2 (plus that Yamaha FM synthesizer). There was some hemming and hawing about how the original GUS couldn’t drive all 32 channels at a full 44.1 kHz ("CD quality") playback rate. It’s true— if 14 channels were enabled, all could be played at 44.1 kHz. Enabling more channels started progressive degradation and with all 32 channels, each was only playing at around 19 kHz. Still, from my emerging game programmer perspective, that allowed for 8-channel tracker music and 6 channels of sound effects, all at the vaunted CD level of quality.

  Games and Compatibility
  The primary reason to have a discrete sound card was for entertainment applications — ahem, games. GUS support was pretty sketchy out of the gate (ostensibly a major reason for the card’s delay). While many sound cards offered Sound Blaster emulation by basically having the same hardware as Sound Blaster cards, the GUS took a software route towards emulating the SB. To do this required a program called the Sound Blaster Operating System, or SBOS.

  Oh, how awesome it was to hear the program exclaim "SBOS installed !" And how harshly it grated on your nerves after the 200th time hearing it due to so many reboots and fiddling with options to make your games work. Also, I’ve always wondered if there’s something special about sampling an ’s’ sound — does it strain the sampling frequency range ? Perhaps the phrase was sampled at too low a bitrate because the ’s’ sounds didn’t come through very clearly, which is something you notice after hundreds of iterations when there are 3 ’s’ sounds in the phrase.

  Fortunately, SBOS became less relevant with the advent of Mega-Em, a separate emulator which intercepted calls to Roland MIDI systems and routed them to the very capable GUS. Roland-supporting games sounded beautiful.

  Eventually, more and more DOS games were released with native Gravis support, sometimes with the help of The Miles Sound System (from our friends at Rad Game Tools — you know, the people behind Smacker and Bink). The library changelog is quite the trip down PC memory lane.

  An important area where the GUS shined brightly was that of demos and music trackers. The emerging PC demo scene embraced the powerful GUS (aided, no doubt, by Gravis’ sponsorship of the community) and the coolest computer art and music of the time natively supported the card.

  Programming
  At this point in my life, I was a budding programmer in high school and was fairly intent on programming video games. So far, I had figured out how to make a few blips using a borrowed Sound Blaster card. I went to great lengths to learn how to program the Gravis Ultrasound.

  Oh you kids today, with your easy access to information at the tips of your fingers thanks to Google and the broader internet. I had to track down whatever information I could find through a combination of Prodigy message boards and local dialup BBSes and FidoNet message bases. Gravis was initially tight-lipped about programming information for its powerful card, as was de rigueur of hardware companies (something that largely persists to this day). But Gravis eventually saw an opportunity to one-up encumbent Creative Labs and released a full SDK for the Ultrasound. I wanted the SDK badly.

  So it was early-mid 1993. Gravis released an SDK. I heard that it was available on their support BBS. Their BBS with a long distance phone number. If memory serves, the SDK was only in the neighborhood of 1.5 Mbytes. That takes a long time to transfer via a 2400 baud modem at a time when long distance phone charges were still a thing and not insubstantial.

  Luckily, they also put the SDK on something called an ’FTP site’. Fortunately, about this time, I had the opportunity to get some internet access via the local university.

  Indeed, my entire motivation for initially wanting to get on the internet was to obtain special programming information. Is that nerdy enough for you ?

  I see that the GUS SDK is still available via the Gravis FTP site. The file GUSDK222.ZIP is dated 1998 and is less than a megabyte.

  Next Generation : CD Support
  So I had my original GUS by the end of 1992. That was just the first iteration of the Gravis Ultrasound. The next generation was the GUS MAX. When I was ready to get into the CD-ROM era, this was what I wanted in my computer. This is because the GUS MAX had CD-ROM support. This is odd to think about now when all optical drives have SATA interfaces and (P)ATA interfaces before that— what did CD-ROM compatibility mean back then ? I wasn’t quite sure. But in early 1995, I headed over to Computer City (R.I.P.) and bought a new GUS MAX and Sony double-speed CD-ROM drive to install in the family’s PC.

  
  
  

  About the "CD-ROM compatibility" : It seems that there were numerous competing interfaces in the early days of CD-ROM technology. The GUS MAX simply integrated 3 different CD-ROM controllers onto the audio card. This was superfluous to me since the Sony drive came with an appropriate controller card anyway, though I didn’t figure out that the extra controller card was unnecessary until after I installed it. No matter ; computers of the day were rife with expansion ports.

  
  
  The 3 different CD-ROM controllers on the GUS MAX
  

  Explaining The Difference
  It was difficult to explain the difference in quality to those who didn’t really care. Sometime during 1995, I picked up a quasi-promotional CD-ROM called "The Gravis Ultrasound Experience" from Babbage’s computer store (remember when that was a thing ?). As most PC software had been distributed on floppy discs up until this point, this CD-ROM was an embarrassment of riches. Tons of game demos, scene demos, tracker music, and all the latest GUS drivers and support software.

  Further, the CD-ROM had a number of red book CD audio tracks that illustrated the difference between Sound Blaster cards and the GUS. I remember loaning this to a tech-savvy coworker who disbelieved how awesome the GUS was. The coworker took it home, listened to it, and wholly agreed that the GUS audio sounded better than the SB audio in the comparison — and was thoroughly confused because she was hearing this audio emanating from her Sound Blaster. It was the difference between real-time and pre-rendered audio, I suppose, but I failed to convey that message. I imagine the same issue comes up even today regarding real-time video rendering vs., e.g., a pre-rendered HD cinematic posted on YouTube.

  Regrettably, I can’t find that CD-ROM anymore which leads me to believe that the coworker never gave it back. Too bad, because it was quite the treasure trove.

  Aftermath
  According to folklore I’ve heard, Gravis couldn’t keep up as the world changed to Windows and failed to deliver decent drivers. Indeed, I remember trying to keep my GUS in service under Windows 95 well into 1998 but eventually relented and installed some kind of more appropriate sound card that was better supported under Windows.

  Of course, audio output capability has been standard issue for any PC for at least 10 years and many people aren’t even aware that discrete sound cards still exist. Real-time audio rendering has become less essential as full musical tracks can be composed and compressed into PCM format and delivered with the near limitless space afforded by optical storage.

  A few years ago, it was easy to pick up old GUS cards on eBay for cheap. As of this writing, there are only a few and they’re pricy (but perhaps not selling). Maybe I was just viewing during the trough of no value a few years ago.

  Nowadays, of course, anyone interested in studying the old GUS or getting a nostalgia fix need only boot up the always-excellent DOSBox emulator which provides remarkable GUS emulation support.

• Révision 17912 : ameliorer la redirection sur inscription :

  18 mai 2011, par cedric -

  detection de autoriser(ecrire) prend en compte l’id_auteur explicite

  redirection plus smart en cas de reclic sur le lien de confirmation : ne pas envoyer sur la page de login un auteur deja loge !

• An introduction to reverse engineering

  22 janvier 2011

  (This blog is still in hibernation, but I needed somewhere to post this)

  Reverse engineering is one of those wonderful topics, covering everything from simple "guess how this program works" problem solving, to poking at silicon with scanning electron microscopes. I’m always hugely fascinated by articles that walk through the steps involved in these types of activities, so I thought I’d contribute one back to the world.

  In this case, I’m going to be looking at the export bundle format created by the Tandberg Content Server, a device for recording video conferences. The bundle is intended for moving recordings between Tandberg devices, but it’s also the easiest way to get all of the related assets for a recorded conference. Unfortunately, there’s no parser available to take the bundle files (.tcb) and output the component pieces. Well, that just won’t do.

  For this type of reverse engineering, I basically want to learn enough about the TCB format to be able to parse out the individual files within it. The only tools I’ll need in this process are a hex editor, a notepad, and a way to convert between hex and decimal (the OS X calculator will do fine if you’re not the type to do it in your head).

  Step 1 : Basic Research
  After Googling around to see if this was a solved issue, I decided to dive into the format. I brought a sample bundle into my trusty hex editor (in this case Hex Fiend).

  

  A few things are immediately obvious. First, we see the first four bytes are the letters TCSB. Another quick visit to Google confirms this header type isn’t found elsewhere, and there’s essentially no discussion of it. Going a few bytes further, we see "contents.xml." And a few bytes after that, we see what looks like plaintext XML. This is a pretty good clue that the TCB file consists of a . Let’s scan a bit further and see if we can confirm that.
  
  In this segment, we see the end of the XML, and something that could be another filename - "dbtransfer" - followed by what looks like gibberish. That doesn’t help too much. Let’s keep looking.
  
  Great - a .jpg ! Looking a bit further, we see the letters "JFIF," which is recognizable as part of a JPEG header. If you weren’t already familiar with that, a quick google for "jpg hex header" would clear up any confusion. So, we’ve got the basics of the file format down, but we’ll need a little bit more information if we’re going to write a parser.

  Step 2 : Finding the pattern
  We can make an educated guess that a file like this has to provide a few hints to a decoder. We would either expect a table of contents, describing where in the bundle each individual file was located, some sort of stop bit marking the boundary between files, byte offsets describing the locations of files, or a listing of file lengths.

  There isn’t any sign of a table of contents. Let’s start looking for a stop bit, as that would make writing our parser really easy. Want I’m going to do is pull out all of the data between two prospective files, and I want two sets to compare.
  I’ve placed asterisks to flag the bytes corresponding to the filenames, since those are known.

  1E D1 70 4C 25 06 36 4D 42 E9 65 6A 9F 5D 88 38 0A 00 *64 62 74 72 61 6E 73 66 65 72* 42 06 ED 48 0B 50 0A C4 14 D6 63 42 F2 BF E3 9D 20 29 00 00 00 00 00 00 DE E5 FD

  01 0C 00 *63 6F 6E 74 65 6E 74 73 2E 78 6D 6C* 9E 0E FE D3 C9 3A 3A 85 F4 E4 22 FE D0 21 DC D7 53 03 00 00 00 00 00 00

  The first line corresponds to the "dbtransfer" entry, the second to the "contents.xml" entry. Let’s trim the first entry to match the second.

  38 0A 00 *64 62 74 72 61 6E 73 66 65 72* 42 06 ED 48 0B 50 0A C4 14 D6 63 42 F2 BF E3 9D 20 29 00 00 00 00 00 00

  01 0C 00 *63 6F 6E 74 65 6E 74 73 2E 78 6D 6C* 9E 0E FE D3 C9 3A 3A 85 F4 E4 22 FE D0 21 DC D7 53 03 00 00 00 00 00 00

  It looks like we’ve got three bytes before the filename, followed by 18 bytes, followed by six bytes of zero. Unfortunately, there’s no obvious pattern of bits which would correspond to a "break" between segments. However, looking at those first three bytes, we see a 0x0A, and a 0x0C, two small values in the same place. 10 and 12. Interesting - the 12 entry corresponds with "contents.xml" and the 10 entry corresponds with "dbtransfer". Could that byte describe the length of the filename ? Let’s look at our much longer JPG entry to be sure.

  70 4A 00 *77 77 77 5C 73 6C 69 64 65 73 5C 64 37 30 64 35 34 63 66 2D 32 39 35 62 2D 34 31 34 63 2D 61 38 64 66 2D 32 66 37 32 64 66 33 30 31 31 35 65 5C 74 68 75 6D 62 6E 61 69 6C 73 5C 74 68 75 6D 62 6E 61 69 6C 30 30 2E 6A 70 67*

  0x4A - 74, corresponding to a 74 character filename. Looks like we’re in business.

  At this point, it’s worth an aside to talk about endianness. I happen to know that the Tandberg Content Server runs Windows on Intel, so I went into this with the assumption that the format was little-endian. However, if you’re not sure, it’s always worth looking at words backwards and forwards, just in case.

  So we know how to find our filename. Now how do we find our file data ? Let’s go back to our JPEG. We know that JPEGs start with 0xFFD8FFE0, and a quick trip to Google also tells us that they end with 0xFFD9. We can use that to pull a sample jpeg out of our TCB, save it to disk, and confirm that we’re on the right track.
  

  This is one of those great steps in reverse engineering - concrete proof that you’re on the right track. Everything seems to go quicker from this point on.

  So, we know we’ve got a JPEG file in a continuous 2177 byte segment. We know that the format used byte lengths to describe filenames - maybe it also uses byte lengths to describe file lengths. Let’s look for 2177, or 0x8108, near our JPEG.

  

  Well, that’s a good sign. But, it could be coincidental, so at this point we’d want to check a few other files to be sure. In fact, looking further in some file, we find some larger .mp4 files which don’t quite match our guess. It turns out that file length is a 32bit value, not a 16bit value - with our two jpegs, the larger bytes just happened to be zeros.

  Step 3 : Writing a parser

  "Bbbbbut...", I hear you say ! "You have all these chunks of data you don’t understand !"

  True enough, but all I care about is getting the files out, with the proper names. I don’t care about creation dates, file permissions, or any of the other crud that this file format likely contains.

  

  Let’s look at the first two files in this bundle. A little bit of byte counting shows us the pattern that we can follow. We’ll treat the first file as a special case. After that, we seek 16 bytes from the end of file data to find the filename length (2 bytes), then we’re at the filename, then we seek 16 bytes to find the file length (4 bytes) and seek another 4 bytes to find the start of the file data. Rinse, repeat.

  I wrote a quick parser in PHP, since the eventual use for this information is part of a larger PHP-based application, but any language with basic raw file handling would work just as well.

  tcsParser.txt
  This was about the simplest possible type of reverse engineering - we had known data in an unknown format, without any compression or encryption. It only gets harder from here...