While almost everyone has a heater of some sort in their home, it’s fairly unlikely that the heat provided by a central heating system such as a furnace is distributed in an efficient way. There’s little reason to heat bedrooms during the day, or a kitchen during the night, but heating systems tend to heat whole living space regardless of the time of day or the amount of use. You can solve this problem, like most problems, with an Arduino.
[Karl]’s build uses a series of radiator valves to control when each room gets heat from a boiler. The valves, with a temperature monitor at each valve, are tied into a central Arduino Mega using alarm wiring. By knowing the time of day and the desired temperature in each room, the Arduino can control when heat is applied to each room and when it is shut off, presumably making the entire system much more efficient. It also has control over the circulating pump and some of the other boiler equipment.
Presumably this type of system could be adapted to a system which uses a furnace and an air handler as well, although it is not quite as straightforward to close vents off using a central unit like this as it is to work with a boiler like [Karl] has. With careful design, though, it could be done. Besides replacing thermostats, we can’t say we’ve ever seen this done before.
The Valve Index VR headset incorporates a number of innovations, one of which is the distinctive off-ear speakers instead of headphones or earbuds. [Emily Ridgway] of Valve shared the design and evolution of this unusual system in a deep dive into the elements of the Index headset. [Emily] explains exactly what they were trying to achieve, how they determined what was and wasn’t important to deliver good sound in a VR environment, and what they were able to accomplish.
First prototype, a proof-of-concept that validated the basic idea and benefits of off-ear audio delivery.
Early research showed that audio was extremely important to providing a person with a good sense of immersion in a VR environment, but delivering a VR-optimized audio experience involved quite a few interesting problems that were not solved with the usual solutions of headphones or earbuds. Headphones and earbuds are optimized to deliver music and entertainment sounds, and it turns out that these aren’t quite up to delivering on everything Valve determined was important in VR.
The human brain is extremely good at using subtle cues to determine whether sounds are “real” or not, and all kinds of details come into play. For example, one’s ear shape, head shape, and facial geometry all add a specific tonal signature to incoming sounds that the brain expects to encounter. It not only helps to localize sounds, but the brain uses their presence (or absence) in deciding how “real” sounds are. Using ear buds to deliver sound directly into ear canals bypasses much of this, and the brain more readily treats such sounds as “not real” or even seeming to come from within one’s head, even if the sound itself — such as footsteps behind one’s back — is physically simulated with a high degree of accuracy. This and other issues were the focus of multiple prototypes and plenty of testing. Interestingly, good audio for VR is not all about being as natural as possible. For example, low frequencies do not occur very often in nature, but good bass is critical to delivering a sense of scale and impact, and plucking emotional strings.
“Hummingbird” prototype using BMR drivers. Over twenty were made and lent to colleagues to test at home. No one wanted to give them back.
The first prototype demonstrated the value of testing a concept as early as possible, and it wasn’t anything fancy. Two small speakers mounted on a skateboard helmet validated the idea of off-ear audio delivery. It wasn’t perfect: the speakers were too heavy, too big, too sensitive to variation in placement, and had poor bass response. But the results were positive enough to warrant more work.
In the end, what ended up in the Index headset is a system that leans heavily on Balanced Mode Radiator (BMR) speaker design. Cambridge Audio has a short and sweet description of how BMR works; it can be thought of as a hybrid between a traditional pistonic speaker drivers and flat-panel speakers, and the final design was able to deliver on all the truly important parts of delivering immersive VR audio in a room-scale environment.
As anyone familiar with engineering and design knows, everything is a tradeoff, and that fact is probably most apparent in cutting-edge technologies. For example, when Valve did a deep dive into field of view (FOV) in head-mounted displays, we saw just how complex balancing different features and tradeoffs could be.
If you’ve ever worked with vacuum tubes, you’ll probably have a healthy appreciation for high voltage power supplies. These components require higher potentials to get those electrons moving, or so we’re told. It’s not the whole truth though, as [Albert van Dalen] demonstrates with his tube preamplifier running from only 3.3 V. If your first thought is that he must have made a flyback converter to step that voltage up to something more useful then you’re in for a surprise, because the single 6J6 pentode really does run from just 3.3 volts. Even its heater, normally supplied with 6.3 V, takes the lower voltage.
The circuit appears at first sight to be a conventional single-ended design, but closer examination reveals a grid bias circuit more reminiscent of a bipolar transistor. This results in a positive grid voltage rather than the more usual negative, and an unusually high 0.3 mA grid current. The cathode current is only 0.15 mA, but the preamplifier delivers a 3.5x gain. There is more detail on his website.
It would be interesting to subject this circuit to a full audio analysis and comparison with a more conventional design. As with so much in the world of audio there’s some smoke and mirrors around what constitutes the so-called “valve sound”, and it’s a question whether the satisfaction comes through the sound itself or the bragging rights of having a unit with a vacuum tube on show. Still, this is a simple enough design which takes few resources to build, so we look forward to seeing further experimentation. Careful though – down the vacuum audio route can lie folly.
Valves (tubes) certainly have a die hard fan base in the electronic community, praised for their warm sound, desirable distortion characteristics and attractive aesthetic. However, sometimes you just want the look of a valve for a prop or a toy, without actually needing the functionality. For those cases, this project from [Ajaxjones] might be just the ticket.
The build consists of taking an existing valve, combining it with a 3D printed base, and using this to create a silicone mould. 3D printed parts and dressmaker’s pins are then used to create the internal parts of the valve, and are inserted into the mould. Clear resin is then degassed, and poured into the mould to create the part. Once cured, the part is removed and the base painted to complete the look. An LED is then installed into a void in the base to give the piece a warm glow as you’d expect.
It’s a simple tutorial to producing high-quality clear plastic parts, and one that should prove useful to many prop builders and cosplayers alike. If you’re wanting to take your resin game to the next level, consider trying some overmolded parts. Video after the break.
Hydraulic components are the industrial power transmission version of LEGO. Pumps, cylinders, valves – pretty much everything is standardized, and fitting out a working system is a matter of picking the right parts and just plumbing everything together. That’s fine if you want to build an excavator or a dump truck, but what if you want to scale things down?
Miniature hydraulic systems need miniature components, of which this homebrew hydraulic valve made by [TinC33] is a great example. (Video embedded below.) If you’re curious about why anyone would need these, check out the tiny hydraulic cylinders he built a while back, wherein you’ll learn that miniature RC snowplows are a thing. The video below starts with a brief but clear explanation about how hydraulic circuits work, as well as an explanation of the rotary dual-action proportional valve he designed. All the parts are machined by hand in the lathe from aluminum and brass stock. The machining operations are worth watching, but if you’re not into such things, skip to final assembly and testing at 13:44. The valve works well, providing very fine control of the cylinder and excellent load holding, and there’s not a leak to be seen. Impressive.
[TinC33] finishes the video with a tease of a design for multiple valves in a single body. That one looks like it might be an interesting machining challenge, and one we’d love to see.
VR headsets have been seeing new life for a few years now, and when it comes to head-mounted displays, the field of view (FOV) is one of the specs everyone’s keen to discover. Valve Software have published a highly technical yet accessibly-presented document that explains why Field of View (FOV) is a complex thing when it pertains to head-mounted displays. FOV is relatively simple when it comes to things such as cameras, but it gets much more complicated and hard to define or measure easily when it comes to using lenses to put images right up next to eyeballs.
Simulation of how FOV can be affected by eye relief [Source: Valve Software]The document goes into some useful detail about head-mounted displays in general, the design trade-offs, and naturally talks about the brand-new Valve Index VR headset in particular. The Index uses proprietary lenses combined with a slight outward cant to each eye’s display, and they explain precisely what benefits are gained from each design point. Eye relief (distance from eye to lens), lens shape and mounting (limiting how close the eye can physically get), and adjustability (because faces and eyes come in different configurations) all have a role to play. It’s a situation where every millimeter matters.
If there’s one main point Valve is trying to make with this document, it’s summed up as “it’s really hard to use a single number to effectively describe the field of view of an HMD.” They plan to publish additional information on the topics of modding as well as optics, so keep an eye out on their Valve Index Deep Dive publication list.
From today’s perspective, vacuum tubes are pretty low tech. But for a while they were the pinnacle of high tech, and heavy research followed the promise shown by early vacuum tubes in transmission and computing. Indeed, as time progressed, tubes became very sophisticated and difficult to manufacture. After all, they were as ubiquitous as ICs are today, so it is hardly surprising that they got a lot of R&D.
Prior to 1938, for example, tubes were built as if they were light bulbs. As the demands on them grew more sophisticated, the traditional light bulb design wasn’t sufficient. For one, the wire leads’ parasitic inductance and capacitance would limit the use of the tube in high-frequency applications. Even the time it took electrons to get from one part of the tube to another was a bottleneck.
There were several attempts to speed tubes up, including RCA’s acorn tubes, lighthouse tubes, and Telefunken’s Stahlröhre designs. These generally tried to keep leads short and tubes small. The Philips company started attacking the problem in 1934 because they were anticipating demand for television receivers that would operate at higher frequencies.
Dr. Hans Jonker was the primary developer of the proposed solution and published his design in an internal technical note describing an all-glass tube that was easier to manufacture than other solutions. Now all they needed was an actual application. While they initially thought the killer app would be television, the E50 would end up helping the Allies win the war.
