The Hovercraft Revolution And Finding The Right Niche For A Technology

In the world of transportation, some technologies may seem to make everything else appear obsolete, whether it concerns airplanes, magnetic levitation or propelling vehicles and craft over a cushion of air. This too seemed to be the case with hovercraft when they exploded onto the scene in the 1950s and 1960s, seemingly providing the ideal solution for both commercial and military applications. Freed from the hindrances of needing a solid surface to travel upon, or a deep enough body of water to rest in, hovercraft gave all the impressions of combining the advantages of aircraft, ships and wheeled vehicles.

Yet even though for decades massive passenger and car-carrying hovercraft roared across busy waterways like the Channel between England & mainland Europe, they would quietly vanish again, along with their main competition in the form of super fast passenger catamarans. Along the English Channel the construction of the Channel Tunnel was a major factor here, along with economical considerations that meant a return to conventional ferries. Yet even though one might think that the age of hovercraft has ended before it ever truly began, the truth may be that hovercraft merely had to find its right niches after a boisterous youth.

An example of this can be found in a recent BBC article, which covers the British Griffon Hoverwork company, which notes more interest in new hovercraft than ever, as well as the continued military interest, and from rescue workers.

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Unexpectedly Interesting Payphone Gives Up Its Secrets

Reverse engineering a payphone doesn’t sound like a very interesting project, at least in the United States, where payphones were little more than ruggedized versions of residential phones with a coin mechanism attached. Phones in other parts of the world were far more interesting, though, as this look at the mysteries of a payphone from Israel reveals (in Hebrew; English translation here.)

This is a project [Inbar Raz] worked on quite a while ago, but only got around to writing up recently. The payphone in question was sourced from the usual surplus market channels, and appears to have been removed from service by Israeli telecommunications company Bezeq only shortly before he found it. It was in pretty good shape, and was even still locked tight, making some amateur locksmithing the first order of the day. The internals of the phone are surprisingly complex, with a motherboard that looks more like something from a PC. Date codes on the chips and through-hole construction date the device to the early- to mid-1990s.

With physical access gained, [Inbar] turned to the firmware. An Atmel flash chip seemed a good place to look, and indeed he was able to pull code off the chip. That’s where things took a turn thanks to the CPU the code was written for — the CDP1806, a later version of the more popular but still fringe CDP1802. This required [Inbar] to fall down the rabbit hole of writing a new processor definition file for Ghidra so that the firmware could be reverse-engineered. This got him to the point of understanding 1806 assembly well enough that he was able to re-flash the phone to print debugging messages on the built-in 16×2 LCD screen, which allowed him to figure out which routines were being called under various error conditions.

It doesn’t appear that [Inbar] ever completed the reverse engineering project, but as he points out, what does that even mean? He got inside, took a look around, and made the phone do some cool things it couldn’t do before, and in the process made things easier for anyone working with 1806 processors in Ghidra. That’s a pretty complete win in our books.

The Math Behind The Music Of The 80s

Although there might have been other music produced or recorded in the 1980s, we may never know of its existence due to the cacophony of all of the various keytars, drum machines, and other synthesized music playing nonstop throughout the decade. There was perhaps no more responsible synthesizer than the Yamaha DX7 either; it nearly single-handedly ushered in the synth pop era. There had been other ways of producing similar sounds before but none were as unique as this keyboard, and for ways beyond just its sound as [Kevin] describes in this write-up.

Part of the reason the DX7 was so revolutionary was that it was among the first accessible synthesizers that was fully digital, meaning could play more than one note at a time since expensive analog circuitry didn’t need to be replicated for multiple keys. But it also generated its tones by using frequency modulation of sine waves in a way that allowed many signals to be combined to form different sounds. While most popular musicians of the 80s used one of the preset sounds of the synthesizer, it could produce an incredible range of diverse sounds if the musician was willing to dig a bit into the programming of this unique instrument.

There were of course other reasons this synthesizer took off. It was incredibly robust, allowing a musician to reliably carry it from show to show without much worry, and it also stood on the shoulders of giants since musicians had been experimenting with various other types of synthesizers for the previous few decades. And perhaps it was at the right place and time for the culture as well. For a look at the goings on inside the chip that powered the device, [Ken Shirriff] did a deep dive into one a few years ago.