Visualizing Magnetic Memory With Core 64

November 11, 2020 by Adam Zeloof 17 Comments

For the vast majority of us, computer memory is a somewhat abstract idea. Whether you’re declaring a variable in Python or setting a register in Verilog, the data goes — somewhere — and the rest really isn’t your problem. You may have deliberately chosen the exact address to write to, but its not like you can glance at a stick of RAM and see the data. And you almost certainly can’t rewrite it by hand. (If you can do either of those things, let us know.)

These limitations must have bothered [Andy Geppert], because he set out to bring computer memory into the tangible (or at least, visible) world with his interactive memory badge Core 64. [Andy] has gone through a few different iterations, but essentially Core 64 is an 8×8 grid of woven core memory, which stores each bit via magnetic polarization, with a field of LEDs behind it that allow you to visualize what’s stored. The real beauty of this setup is that it it can be used to display 64 pixel graphics. Better yet — a bit can be rewritten by introducing a magnetic field at the wire junction. In other words, throw a magnet on a stick into the mix and you have yourself a tiny drawing tablet!

This isn’t the first time we’ve seen cool experiments with core memory, and not even the first time we’ve seen [Andy] use it to make something awesome, but it really illuminates how the technology works. Being able to not only see memory being written but to manually write to it makes it all so much realer, somehow.

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Rockin’ Out In LTSpice: Simulating Classic Guitar Pedals

October 29, 2020 by Adam Zeloof 9 Comments

Musicians have a fantastic language to describe signals. A sound can be fat, dark, crunchy, punchy — the list goes on. These aren’t very technical terms, but they get the job done. After all, it’s much easier to ask to guitarist for a crisper sound than to ask them to sharpen the edges of the waveform, while amplifying the high-frequency components and attenuating the low-frequency components. Of course, it’s fun to look at signals this way as well, especially when you can correlate shifts in sound quality to changes in the waveform and, ideally, the circuit that produces it.

To undergo such an investigation, [Nash Reilly] has been simulating guitar effects pedals in LTSpice. Able to find most of the schematics he needs online, [Nash] breaks down the function of each part of the circuit and builds a simulation of the entire system. His write-up clearly explains, and often demonstrates, what’s going on inside the box. On the surface, it’s an interesting tour of the inner workings of your favorite effects pedals. Beyond that, it’s an excellent survey of analog design that is well-worth the read for anybody interested in audio, electronics, or audio electronics.

For those interested in taking the physical route rather than the simulated one, we’ve taken a look at pedal design before. Anybody who wants to try their hand at creating simulations can grab a copy of LTSpice, or check out a package called LiveSpice, which lets you simulate circuits in realtime and use them to process live audio — pretty useful for prototyping guitar effects.

Radio Remote Control Via HTML5

October 24, 2020 by Adam Zeloof 36 Comments

It’s a common scene: a dedicated radio amateur wakes up early in the morning, ambles over to their shack, and sits in the glow of vacuum tubes as they call CQ DX, trying to contact hams in time zones across the world. It’s also a common scene for the same ham to sit in the comfort of their living room, sipping hot chocolate and remote-controlling their rig from a laptop. As you can imagine, this essentially involves a server running on a computer hooked up to the radio, which is connected via the internet to a client running on the laptop. [Olivier/ F4HTB] saw a way to improve the process by eliminating the client software and controlling the rig from a web browser.

[Oliver]’s software, aptly named Universal HamRadio Remote, runs a web server that hosts an HTML5 dashboard for controlling the radio. It also pipes audio back and forth (radio control wouldn’t be very useful if you couldn’t talk!), and can be run on a Raspberry Pi. Not only does this make setup easier, as there is no need to configure the client machine, but it also makes the radio accessible from nearly any modern device.

We’ve seen a similar (albeit expensive and closed-source) solution, the MFJ-1234, before, but it’s always refreshing to see the open-source community tackle a problem and make it their own. We can’t wait to see where the project goes next!

It Came From Outer Space: Listening To The Deep Space Network

October 17, 2020 by Adam Zeloof 26 Comments

Ham radio operators love to push the boundaries of their equipment. A new ham may start out by making a local contact three miles away on the 2m band, then talk to somebody a few hundred miles away on 20m. Before long, they may find themselves chatting to fellow operators 12,000 miles away on 160m. Some of the adventurous return to 2m and try to carry out long-distance conversations by bouncing signals off of the Moon, waiting for the signal to travel 480,000 miles before returning to Earth. And then some take it several steps further when they listen to signals from spacecraft 9.4 million miles away.

That’s exactly what [David Prutchi] set out to do when he started building a system to listen to the Deep Space Network (DSN) last year. The DSN is NASA’s worldwide antenna system, designed to relay signals to and from spacecraft that have strayed far from home. The system communicates with tons of inanimate explorers Earth has sent out over the years, including Voyager 1 & 2, Juno, and the Mars Reconnaissance Orbiter. Because the craft are transmitting weak signals over a great distance (Voyager 1 is 14 billion miles away!), the earth-based antennas need to be big. Real big. Each of the DSN’s three international facilities houses several massive dishes designed to capture these whispers from beyond the atmosphere — and yet, [David] was able to receive signals in his back yard.

Sporting a stunning X-band antenna array, a whole bunch of feedlines, and some tracking software, he’s managed to eavesdrop on a handful of spacecraft phoning home via the DSN. He heard the first, Bepi-Colombo, in May 2020, and has only improved his system since then. Next up, he hopes to find Juno, and decode the signals he receives to actually look at the data that’s being sent back from space.

We’ve seen a small group of enthusiasts listen in on the DSN before, but [David]’s excellent documentation should provide a fantastic starting point for anybody else interested in doing some interstellar snooping.

Lowering The Bar For Exam Software Security

October 14, 2020 by Adam Zeloof 24 Comments

Most standardized tests have a fee: the SAT costs $50, the GRE costs $200, and the NY Bar Exam costs $250. This year, the bar exam came at a much larger cost for recent law school graduates — their privacy.

Many in-person events have had to find ways to move to the internet this year, and exams are no exception. We’d like to think that online exams shouldn’t be a big deal. It’s 2020. We have a pretty good grasp on how security and privacy should work, and it shouldn’t be too hard to implement sensible anti-cheating features.

It shouldn’t be a big deal, but for one software firm, it really is.

The NY State Board of Law Examiners (NY BOLE), along with several other state exam boards, chose to administer this year’s bar exam via ExamSoft’s Examplify. If you’ve missed out on the Examplify Saga, following the Diploma Privilege for New York account on Twitter will get you caught up pretty quickly. Essentially, according to its users, Examplify is an unmitigated disaster. Let’s start with something that should have been settled twenty years ago.

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Homemade Gear Cutting Indexer Blends Art With Engineering

October 10, 2020 by Adam Zeloof 23 Comments

Ordinarily, when we need gears, we pop open a McMaster catalog or head to the KHK website. Some of the more adventurous may even laser cut or 3D print them. But what about machining them yourself?

[Uri Tuchman] set out to do just that. Of course, cutting your own gears isn’t any fun if you didn’t also build the machine that does the cutting, right? And let’s be honest, what’s the point of making the machine in the first place if it doesn’t double as a work of art?

[Uri’s] machine, made from brass and wood, is simple in its premise. It is placed adjacent to a gear cutter, a spinning tool that cuts the correct involute profile that constitutes a gear tooth. The gear-to-be is mounted in the center, atop a hole-filled plate called the dividing plate. The dividing plate can be rotated about its center and translated along linear stages, and a pin drops into each hole on the plate as it moves to index the location of each gear tooth and lock the machine for cutting.

The most impressive part [Uri’s] machine is that it was made almost entirely with hand tools. The most advanced piece of equipment he used in the build is a lathe, and even for those operations he hand-held the cutting tool. The result is an elegant mechanism as beautiful as it is functional — one that would look at home on a workbench in the late 19th century.

[Thanks BaldPower]

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Making Music With A Go Board Step Sequencer

October 5, 2020 by Adam Zeloof 3 Comments

Ever wonder what your favorite board game sounds like? Neither did we. Thankfully [Sara Adkins] did, and created a step sequencer called Let’s Go that uses the classic board game Go as input.

In the game Go, two players place black and white tokens on a grid, vying for control of the board. As the game progresses, the configuration of game pieces gets more complex and coincidentally begins to resemble Conway’s Game of Life (or a weird QR Code). Sara saw music in the evolving arrangement of circles and transformed the ancient board game into a modern instrument so others could hear it too.

To an observer, [Sara’s] adaptation looks fairly indistinguishable from the version played in China 2,500 years ago — with the exception of an overhead webcam and nearby laptop, of course. The laptop uses OpenCV to digitize the board layout. It feeds that information via Open Sound Control (OSC) into popular music creation software Max MSP (though an open-source version could probably be implemented in Pure Data), where it’s used to control a step sequencer. Each row on the board represents an instrumental voice (melodic for white pieces, percussive for black ones), and each column corresponds to a beat.

Every new game is a new piece of music that starts out simple and gradually increases in complexity. The music evolves with the board, and adds a new dimension for players to interact with the game. If you want to try it out yourself, [Sara] has the project fully documented on her website, and all of the code is available on GitHub. Now we’re just left wondering what other games sound like — [tinkartank] already answered that question for chess, but what about Settlers of Catan?

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