digital audio

26 Articles

How The BBC (Still) Sends Audio To Transmitter Sites

September 13, 2022 by 25 Comments

Running a radio station is, on the face of it, a straightforward technical challenge. Build a studio, hook it up to a transmitter, and you’re good to go. But what happens when your station is not a single Rebel Radio-style hilltop installation, but a national chain of transmitter sites fed from a variety of city-based studios? This is the problem facing the BBC with their national UK FM transmitter chain, and since the 1980s it has been fed by a series of NICAM digital data streams. We mentioned back in 2016 how the ageing equipment had been replaced with a modern FPGA-based implementation without any listeners noticing, and now thanks to [Matt Millman], we have a chance to see a teardown of the original 1980s units. The tech is relatively easy to understand from a 2020s perspective, but it still contains a few surprises.

In each studio or transmitter site would have been a 19″ rack containing one of these units — a card frame with a collection of encoder or decoder cards. These are all custom-made by the BBC’s engineering department to a very high standard, and use period parts such as the familiar Z80 microprocessor and some Philips digital audio chips, which followers of high-end consumer audio may recognize. As you’d expect for a mission critical device, many of the functions are duplicated for redundancy, with their outputs compared to give warning of failures.

The surprise comes in the NICAM encoder and decoder — it’s a custom LSI chip made exclusively for the BBC. This indicates the budget available to the national broadcaster, and given that these units have in some cases been working for over 35 years, we’re guessing that the license payers got their money’s worth.

You can read about the original switch-over in 2016, and a little more about NICAM, too.

Retrotechtacular: 1990s CD Mastering Fit For A King

July 7, 2022 by 48 Comments

Before it was transformed into an ephemeral stream of ones and zeroes, music used to have a physical form of some kind. From wax cylinders to vinyl discs to tapes of various sizes in different housings and eventually to compact discs, each new medium was marketed as a technological leap over the previous formats, each of which justified incrementally more money to acquire.

But that’s the thing — each purchase resulted in you obtaining a physical item, which had an extensive manufacturing and distribution process behind it. And few artists demanded more manufacturing effort than Michael Jackson in his heyday, as revealed by this in-depth look at the CD manufacturing process for The King of Pop’s release of the HIStory double-disc set in 1995.

The video was produced as sort of a love letter to Michael from the staff and management of the Sony Music disc manufacturing plant in Pittman, New Jersey. The process is shown starting with the arrival of masters to the plant, strangely in the form of U-matic videocassettes; the 3/4″ continuous loop tape was normally used for analog video, but could also be used for recording digital audio. The digital audio is then sent for glass mastering, which is where the actual pits are created on a large glass disc under cleanroom conditions. In fact, much of the production process bears a strong similarity to semiconductor manufacturing, from the need for cleanrooms — although under less stringent conditions than in a fab — to the use of plasma etching, vapor deposition, and metal plating operations.

Once the master stampers are made, things really ramp up in replication. There the stamper discs go into injection molding machines, where hot polycarbonate is forced against the surface under pressure. The copies are aluminized, spin-coated with UV-cure lacquer, and sent on down the line to testing, screen printing, and packaging. Sony hired 40 extra full-time workers, who appear to have handled all the tedious manual tasks like assembling the jewel cases, to handle the extra load of this release.

As cheesy as this thank-you video may be, it was likely produced with good reason. This was a time when a Michael Jackson release was essentially a guarantee of full employment for a large team of workers. The team was able to produce something like 50,000 copies a day, and given that HIStory sold over 20 million copies, that’s a lot of workdays for the good folks at Pittman.

Continue reading “Retrotechtacular: 1990s CD Mastering Fit For A King” →

Mythbusting Tidal’s MQA Format – How Does It Measure Up?

April 21, 2021 by 117 Comments

MQA is an audio format that claims to use a unique “origami” algorithm, promising better quality and more musicality than other formats. At times, it’s been claimed to be a lossless format in so many words, and lauded by the streaming services that use it as the ultimate format for high-fidelity music. With the format being closed source and encoders not publicly available, these claims are hard to test. However, [GoldenSound] wasn’t born yesterday, and set out to test MQA by hook or by crook. The results were concerning. (Video, embedded below.)

To actually put the format through its paces, the only easy way available was to publish music to the Tidal streaming service, which uses the format. [GoldenSound] went this route, attempting to get some test files published. This hit a brick wall when the publishing company reported that the MQA software “would not encode the files”. The workaround? [GoldenSound] simply cut some audio test content into the middle of an acoustic track and resubmitted the files, where they were accepted without further complaint.

Testing with the content pulled from Tidal, [GoldenSound] found concerning evidence that the claims made around MQA don’t stack up. Significant amounts of added noise are often found in the MQA-processed files, and files served from Tidal are clearly not lossless. Additionally, MQA’s “blue light” authentication system, designed to guarantee to listeners that they’re listening to a identical-to-studio release, is demonstrated to be misleading at best, if not entirely fake.

Upon writing to MQA to get a response to his findings, [GoldenSound]’s test files were quickly stripped from Tidal. The company eventually disputed some of the findings, which is discussed in the video. The general upshot is that without open, transparent tools being made publicly available to analyse the format’s performance, it’s impossible to verify the company’s claims.

We’ve had fun looking at audio formats before, from the history of MP3 to musing on digital audio at truly ridiculous sample rates. Continue reading “Mythbusting Tidal’s MQA Format – How Does It Measure Up?” →

Decoding S/PDIF With A Microcontroller Brings A Few Headaches

April 4, 2021 by 14 Comments

The average punter shunts audio around with analog 3.5 mm cables, RCA jacks, or Bluetooth on a regular basis. A useful standard that hasn’t really bothered most of us is S/PDIF, standing for Sony/Phillips Digital Interface. It’s a useful way to pump digital audio around over copper cables or optic fiber. [Andrew Jeddeloh] got curious about the standard after contemplating some long cable runs in his home, and decided to try decoding it.

The target for [Andrew]’s development efforts was the STM32L476 Discovery, which had no SPDIF decoding hardware on board. Instead, [Andrew] tinkered with the peripherals he had to see what would work. In the end, a cavalcade of internal timers were daisy chained to allow the microcontroller to recover a clock from the self-clocked S/PDIF signal. This was then used to generate a clock to sync up the onboard SPI hardware to actually read in the 16-bit PCM data from the S/PDIF signal.

[Andrew]’s original broader plan was to pipe the S/PDIF data to the onboard I2S DAC, though he struggled manipulating the remaining resources on the STM chip to do so successfully. Anyone wishing to have a crack can take a look at [Andrew]’s code over on GitHub. If completed, the STM32L476 would become a useful analog endpoint for S/PDIF streams, allowing you to pump tunes digitally over long distances without signal degradation. If you know the key to getting it done, sound off in the comments! Alternatively, if you need to get up and running more quickly, the Teensy platform has you covered!

All You Need To Know About I2S

April 18, 2019 by 24 Comments

Last month we marked the 40th birthday of the CD, and it was as much an obituary as a celebration because those polycarbonate discs are fast becoming a rarity. There is one piece of technology from the CD age that is very much still with us though, and it lives on in the standard for sending serial digital audio between chips. The protocol is called I2S and comes as a hardware peripheral on many microcontrollers. It’s a surprisingly simple interface that’s quite easy to work with and thus quite hackable, so it’s worth a bit of further investigation.

It’s A Simple Enough Interface

Don’t confuse this with the other Philips Semiconductor protocol: I2C. Inter-Integrated Circuit protocol has the initials IIC, and the double letter was shortened to come up with the “eye-squared-see” nomenclature we’ve come to love from I2C. Brought to life in 1982, this predated I2S by four years which explains the somewhat strange abbreviation for “Inter-Integrated Circuit Sound”.

The protocol has stuck around because it’s very handy for dealing with the firehose of serial data associated with high-quality digital audio. It’s so handy that you’ve likely heard of it being used for other purposes than audio, which I’ll get to in a little bit. But first, what does I2S actually do?

Continue reading “All You Need To Know About I2S” →

Tracktorino Shields You From Poor Interfaces

April 21, 2018 by 8 Comments

On-screen controls in a digital audio workstation expand the power of a DJ or musician, but they are not intuitive for everyone. The tactility of buttons, knobs, sliders and real-world controls feels nothing like using a mouse, trackpad, or even a touchscreen. Unfortunately, devices meant to put control into a DJs hands can be unavailable due to location or cost. [Gustavo Silveira] took charge of the situation so he could help other DJs and musicians take control of their workstations with a customized MIDI interface for Traktor DJ software.

MIDI is a widely used serial protocol which has evolved from a DIN connector to USB, and now it is also wireless. This means that the Traktorino is not locked to Traktor despite the namesake. On the Hackaday.io page, there’s even a list of other workstations it will work with, but since many workstations, all the good ones anyway, accept MIDI hardware like this, the real list is a lot longer.

The custom circuit board is actually a shield. Using an Arduino UNO, the current poster child of the Arduino world, opens up the accessibility for many people who don’t know specialized software. A vector drawing for a lasercut enclosure is also included. This means that even the labeling on the buttons are not locked into English language.

Here’s another project which combined laser cutting and MIDI to make some very clever buttons or turn your DIN MIDI connector into USB.

Continue reading “Tracktorino Shields You From Poor Interfaces” →

Patents On MP3 Format Due To Expire

May 14, 2017 by 51 Comments

MP3 took off in the late 90s as the digital music format. It then proceeded to slaughter the CD, and launch the file sharing revolution as well. It’s a proud format that has roots stretching all the way back to the early 1980s, when the possibility of sending music over ISDN lines was first considered. Now the patents on it are beginning to expire and its licencing program has been terminated.

The MP3 standard was the property of Fraunhofer IIS, and the original licencing model was intended such that encoders would be expensive, and decoders relatively inexpensive. This would allow people to buy software to listen to MP3s cheaply, but the creation of MP3s would be expensive, and thus handled by studios and music labels. This all changed when a high-quality MP3 encoder was leaked to the public, and suddenly it became possible to readily convert your CDs at home into the MP3 format.

One hangover of this ownership of the MP3 standard was that when you installed certain FOSS software, such as Audacity or a Linux distro, you would find that you had to go and do some legwork to find an MP3 codec. That was because it wasn’t worth the legal trouble for the FOSS authors to arrange a workaround, and trading in proprietary software is the antithesis to everything they stand for.

However, now that more of the relevant patents are expiring, you can now expect MP3 support to be baked into more software. It may be more than a little late, with more advanced audio formats beginning to take over, but it’s great to know that Fedora, for one, is starting to include MP3 support with their releases.

If you’d like to read more about the history of the MP3, check out this great article from NPR. Fraunhofer have their own great history site, too. If all this talk of advanced audio formats has gotten you excited, check out this MP3 decoder written for the ESP8266.

[Thanks to Tim Trzepacz for the tip!]