[Pat]’s friend got a Pono for Christmas, a digital audio player that prides itself on having the highest fidelity of any music player. It’s a digital audio device designed in hand with [Neil Young], a device that had a six million dollar Kickstarter, and is probably the highest-spec audio device that will be released for the foreseeable future.
The Pono is an interesting device. Where CDs have 16-bit, 44.1 kHz audio, the Pono can play modern lossless formats – up to 24-bit, 192 kHz audio. There will undoubtedly be audiophiles arguing over the merits of higher sampling rates and more bits, but there is one way to make all those arguments moot: building an MP3 player out of an oscilloscope.
Digital audio players are limited by the consumer market; there’s no economical way to put gigasamples per second into a device that will ultimately sell for a few thousand dollars. Oscilloscopes are not built for the consumer market, though, and the ADCs and DACs in a medium-range scope will always be above what a simple audio player can manage.
[Pat] figured the Tektronicx MDO3000 series scope sitting on his bench would be a great way to capture and play music and extremely high bit rates. He recorded a song to memory at a ‘lazy’ 1 Megasample per second through analog channel one. From there, a press of the button made this sample ready for playback (into a cheap, battery-powered speaker, of course).
Of course this entire experiment means nothing. the FLAC format can only handle a sampling rate of up to 655 kilosamples per second. While digital audio formats could theoretically record up to 2.5 Gigasamples per second, the question of ‘why’ would inevitably enter into the minds of audio engineers and anyone with an ounce of sense. Short of recording music from the master tapes or another analog source directly into an oscilloscope, there’s no way to obtain music at this high of a bit rate. It’s just a dumb demonstration, but it is the most expensive MP3 player you can buy.
Two Cornell students have designed their own multi-factor authentication system. This system uses a PIN combined with a form of voice recognition to authenticate a user. Their system is not as simple as speaking a passphrase, though. Instead, you have to sing the correct tones into the lock.
The system runs on an ATMEL MEGA1284P. The chip is not sophisticated enough to be able to easily identify actual human speech. The team decided to focus their effort on detecting pitch instead. The result is a lock that requires you to sing the perfect sequence of pitches. We would be worried about an attacker eavesdropping and attempting to sing the key themselves, but the team has a few mechanisms in place to protect against this attack. First, the system also requires a valid PIN. An attacker can’t deduce your PIN simply by listening from around the corner. Second, the system also maintains the user’s specific voice signature.
This technique can be expanded to provide bidriectional communication between a microcontroller and a computer. On the project Github, [Gordon] used the microphone pin on a TRRS jack to sent data to a computer. It needs two more resistors, but other than that, it’s as simple as the one-way communications setup.
[Gordon] put together a few demos of the program, including one that will change the color of some RGB LEDs in response to input on a webpage.
If you ever wanted to build your own tube amplifier but you were intimidated by working with high voltages, [Marcel]’s low-voltage tube amp design might spark your interest. The design operates with a B+ (plate) voltage of only 40v, making it less intimidating and dangerous than many other amps that operate over 300V. It’s also incredibly easy to build—the whole design uses only 11 components.
The amplifier is designed around the ECL82 tube, which includes both a triode and a pentode in one package. The ECL82 is practically an amplifier in a tube: it was designed for low-cost electronics like record players that needed to be as simple as possible. The triode in the ECL82 is used as a pre-amplifier for the incoming signal. The pentode is controlled with the pre-amplified signal and acts as a power amplifier.
[Marcel]’s amplifier also uses a PY88 tube rectifier instead of semiconductor diodes, making it an entirely silicon-free design. Although [Marcel] hasn’t posted up detailed build instructions yet, his simple schematic should be all you need to get started. If you want some more background information about tube amps but you don’t know where to start, check out our post on basic tube amp design from earlier this year.
When it comes to audio effects, you have your delay, reverb, chorus, phasing, and the rest that were derived from strictly analog processes. Compared to the traditional way of doing things, digital audio is relatively new, and there is still untapped potential for new processes and effects. One of those is the bit crusher, an effect that turns 8- or 16-bit audio into mush. [Electronoob] wanted to experiment with bitcrushing, and couldn’t find what he wanted. Undeterred, he built his own.
There are two major effects that are purely in the digital domain. The first is the sample rate reducer. This has a few interesting applications. Because [Shannon] and [Nyquist] say we can only reproduce audio signals less than half of the sample rate; if you run some audio through a sample rate reducer set to 1kHz, it’ll sound like crap, but you’ll also only get bass.
The bitcrusher is a little different. Instead of recording samples of 256 values for 8-bit audio or ~65000 values for 16-bit audio, a one-bit bitcrusher only records one value – on or off. Play it through a speaker at a decent sample rate, and you can still hear it. It sounds like a robotic nightmare, but it’s still there.
[Electronoob] created his bitcrusher purely in software, sending the resulting bitcrushed and much smaller file to an Arduino for playback. Interestingly, he’s also included the ability to downsample audio, giving is project both pure digital effects for the price of one. 1-bit audio is a bit rough on the ears, but 2, 3, and 4-bit audio starts to sound pretty cool, and something that would feel at home in some genres of music.
Sometimes it is not how good but how bad your equipment reproduces sound. In a previous hackaday post the circuitry of a vintage transistor radio was removed so that a blue tooth audio source could be installed and wired to the speaker. By contrast, this post will show how to use the existing circuitry of a vintage radio for playing your own audio sources while at the same time preserving the radio’s functionality. You will be able to play your music through the radio’s own audio signal chain then toggle back to AM mode and listen to the ball game. Make a statement – adapt and use vintage electronics.
Pre-1950’s recordings sound noisy when played on a high-fidelity system, but not when played through a Pre-War console radio. An old Bing Crosby tune sounds like he is broadcasting directly into your living room with a booming AM voice. You do not hear the higher frequency ‘pops’ and ‘hiss’ that would be reproduced by high-fidelity equipment when playing a vintage recording. This is likely due to the fact that the audio frequency signal chain and speaker of an antique radio are not capable of reproducing higher frequencies. Similarly, Sam Cooke sounds great playing out of an earlier transistor radio. These recordings were meant to be played on radios from the era in which they were recorded.
Choosing an Antique Radio
Vintage radios can be found at garage sales, estate sales, hamfests, antique shops, antique radio swap meets, and Ebay. Millions of radios have been manufactured. People often give them away. For this reason, antique radios are relatively inexpensive and the vast majority are not rare or valuable.
Generally speaking, tube radios must be serviced and may not even work. Transistor radios often work to some level. Try to find a radio that is clean and uses a power supply transformer or batteries.
Click past the break to learn how to restore these radios to working condition
Have an extra Raspberry Pi kicking around? Pi MusicBox provides a way to quickly turn it into a standalone streaming device that can fetch music from tons of sources. The latest release of Pi MusicBox adds a bunch of new features.
We took a look at this software over a year ago, and noted that it made streaming Spotify easy, and had support for controlling tracks using Music Player Daemon (MPD). The newest release supports AirPlay, DNLA, Google Music, SoundCloud, and several other music sources.
Since the analog audio output on the Pi isn’t great, Pi MusicBox includes support for a variety of USB sound cards. It’s also possible to use the HDMI port for digital audio output, which can be connected into your home theatre system.
If you want to build a standalone music device, this looks like a great place to start. The user community has built a variety of projects that run this software, which are featured on the Pi MusicBox homepage.