Mapping The Sound Field Of An Acoustic Levitator

Sound! It’s a thing you hear, moreso than something you see with your eyes. And yet, it is possible to visualize sound with various techniques. [PlasmatronX] demonstrates this well, using a special scanning technique to visually capture the sound field inside an acoustic levitation device. 

If you’re unfamiliar, acoustic levitation devices like this use ultrasound to create standing waves that can hold small, lightweight particles in mid-air. The various nodes of the standing wave are where particles will end up hovering. [PlasmatronX] was trying to calibrate such a device, but it proved difficult without being able to see what was going on with the sound field. Hence, the desire to image it!

Imaging the sound field was achieved with a Schlieren optical setup, which can capture variations in air density as changes in brightness in an image. Normally, Schlieren imaging only works in a two-dimensional slice. However, [PlasmatronX] was able to lean on computed tomography techniques to create a volumetric representation of the sound field in 3D. He refers to this as “computerized acoustical tomography.” Images were captured of the acoustic levitation rig from different angles using the Schlieren optics rig, and then the images were processed in Python to recreate a 3D image of the sound field.

We’ve seen some other entertaining applications of computed tomography techniques before, like inspecting packets of Pokemon cards. Video after the break.

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How Would A Field Sequential Home Computer Have Worked?

The early history of colour TV had several false starts, of which perhaps one of the most interesting might-have-beens was the CBS field-sequential system. This was a rival to the nascent system which would become NTSC, which instead of encoding red, green, and blue all at once for each pixel, made sequential frames carry them.

The Korean war stopped colour TV development for its duration in the early 1950s, and by the end of hostilities NTSC had matured into what we know today, so field-sequential colour became a historical footnote. But what if it had survived? [Nicole Express] takes into this alternative history, with a look at how a field-sequential 8-bit home computer might have worked.

The CBS system had a much higher line frequency in order to squeeze in those extra frames without lowering the overall frame rate, so given the clock speeds of the 8-bit era it rapidly becomes obvious that a field-sequential computer would be restricted to a lower pixel resolution than its NTSC cousin. The fantasy computer discussed leans heavily on the Apple II, and we explore in depth the clock scheme of that machine.

While it would have been possible with the faster memory chips of the day to achieve a higher resolution, the conclusion is that the processor itself wasn’t up to matching the required speed. So the field-sequential computer would end up with wide pixels. After a look at a Breakout clone and how a field-sequential Atari 2600 might have worked, there’s a conclusion that field-sequential 8-bit machines would not be as practical as their NTSC cousins. From where we’re sitting we’d expect them to have used dedicated field-sequential CRT controller chips to take away some of the heartache, but such fantasy silicon really is pushing the boundaries.

Meanwhile, while field-sequential broadcast TV never made it, we do have field-sequential TV here in 2026, in the form of DLP projectors. We’ve seen their spinning filter disks in a project or two.


1950 CBS color logo: Archive.org, CC0.

Controlling Vintage Mac OS With AI

Classic Mac OS was prized for its clean, accessible GUI when it first hit the scene in the 1980s. Back then, developers hadn’t even conceived of all the weird gewgaws that would eventually be shoehorned into modern operating systems, least of all AI agents that seem to be permeating everything these days. And yet! [SeanFDZ] found a way to cram Claude or other AI agents into the vintage Mac world.

The result of [Sean]’s work is AgentBridge, a tool for interfacing modern AI agents with vintage Mac OS (7-9). AgentBridge itself runs as an application within Mac OS. It works by reading and writing text files in a shared folder which can also be accessed by Claude or whichever AI agent is in use. AgentBridge takes commands from its “inbox”, executes them via the Mac Toolbox, and then writes outputs to its “outbox” where they can be picked up and processed by the AI agent. The specifics of how the shared folder work are up to you—you can use a network share, a shared folder in an emulation environment, or just about any other setup that lets the AI agent and AgentBridge access the same folder.

It’s hard to imagine any mainstream use cases for having a fleet of AI-controlled Macintosh SE/30s. Still, that doesn’t mean we don’t find the concept hilarious. Meanwhile, have you considered the prospect of artificial intelligence running on the Commodore 64?

Pokemon Go Had Players Capturing More Than They Realized

Released in 2016, Pokemon Go quickly became a worldwide phenomenon. Even folks who weren’t traditionally interested in the monster-taming franchise were wandering around with their smartphones out, on the hunt for virtual creatures that would appear via augmented reality. Although the number of active users has dropped over the years, it’s estimated that more than 50 million users currently log in and play every month.

From a gameplay standpoint, Go is brilliant. Although the Pokemon that players seek out obviously aren’t real, searching for them closely approximates the in-game experience that the franchise has been known for since its introduction on the Game Boy back in 1996.

But now, instead of moving a character through a virtual landscape in search of the elusive “pocket monsters”, players find them dotted throughout the real world. To be successful, players need to leave their homes and travel to where the Pokemon are physically located — which often happens to be a high-traffic area or other point of interest.

As a game, it’s hard to imagine Pokemon Go being a bigger success. At the peak of its popularity, throngs of players were literally causing traffic jams as they roamed the streets in search of invisible creatures. But what players may not have realized as they scanned the world around them through the game was that they were helping developer Niantic build something even more valuable.

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Selective Ironing Adds Designs To 3D Prints

While working on a project that involved super-thin prints, [Julius Curt] came up with selective ironing, a way to put designs on the top surface of a print without adding any height.

For those unfamiliar, ironing is a technique in filament-based 3D printing that uses the extruder to smooth out top surfaces after printing them. The hot nozzle makes additional passes across a top surface, extruding a tiny amount in the process, which smooths out imperfections and leaves a much cleaner surface. Selective ironing is nearly the same process, but applied only in a certain pattern instead of across an entire surface.

Selective Ironing can create patterns by defining the design in CAD, and using a post-processing script.

While conceptually simple, actually making it work was harder than expected. [Julius] settled on using a mixture of computer-aided design (CAD) work to define the pattern, combined with a post-processing script. More specifically, one models the desired pattern into the object in CAD as a one-layer-tall feature. The script then removes that layer from the model while applying the modified ironing pattern in its place. In this way, one can define the pattern in CAD without actually adding any height to the printed object. You can see it in action in the video, embedded below.

We’ve seen some interesting experiments in ironing 3D prints, including non-planar ironing and doing away with the ironing setting altogether by carefully tuning slicer settings so it is not needed. Selective Ironing is another creative angle, and we can imagine it being used to embed a logo or part number as easily as a pattern.

Selective Ironing is still experimental, but if you find yourself intrigued and would like to give it a try head over to the GitHub repository where you’ll find the script as well as examples to try out.

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Open Source Radar Has Up To 20 KM Range

Phased-array radars are great for all sorts of things, whether you’re doing advanced radio research or piloting a fifth-generation combat aircraft. They’re also typically very expensive. [Nawfal] hopes to make the technology more affordable with an open-source radar design of their own.

The design is called the AERIS-10, and is available in two versions. Operating at 10.5 GHz, it can be built to operate at ranges between 3 or 20 kilometers depending on the desired spec. The former uses an 8 x 16 patch antenna array, while the latter extends this to a 32 x 16 array. Either way, each design is capable of fully-electronic beam steering in azimuth and can be hacked to enable elevation too—one of the most attractive features of phased array radars. The hardware is based around an STM32 microcontroller, an FPGA, and a bunch of specialist clock generators, frequency synthesizers, phase shifters, and ADCs to do all the heavy lifting involved in radar.

Radar is something you probably don’t spend a lot of time thinking about unless you’re involved in maritime, air defence, or weather fields. All of which seem to be very much in the news lately! Still, we feature a good few projects on the topic around these parts. If you’ve got your own radar hacks brewing up in the lab, don’t hesitate to let us know. 

A Radio Power Amplifier For Not A Lot

When building a radio transmitter, unless it’s a very small one indeed, there’s a need for an amplifier before the antenna. This is usually referred to as the power amplifier, or PA. How big your PA is depends on your idea of power, but at the lower end of the power scale a PA can be quite modest. QRP, as lowe power radio is referred to, has a transmit power in the miliwatts or single figure watts. [Guido] is here with a QRP PA that delivers about a watt from 1 to 30 MHz, is made from readily available parts, and costs very little.

Inspired by a circuit from [Harry Lythall], the prototype is built on a piece of stripboard. It’s getting away with using those cheap transistors without heatsinking because it’s a class C design. In other words, it’s in no way linear; instead it’s efficient, but creates harmonics and can’t be used for all modes of transmission. This PA will need a low-pass filter to avoid spraying the airwaves with spurious emissions, and on the bands it’s designed for, is for CW, or Morse, only.

We like it though, as it’s proof that building radios can still be done without a large bank balance. Meanwhile if the world of QRP interests you, it’s something we have explored in the past.