Being And Nothingness Audio Book 21
Henri Amazona
Hi all,
I manage to move/modify the code for the wm8994 in the BSP project for STM32f746 disco board into my toughGFX project. I get no compile/run errors. The BSP readme says: "Copy file 'audio_sample_tdm.bin' (available in Binary) directly in the flash at @0x08080000 using ST-Link utility". But this file is too big and won't fit at that address. So... I made a smaller version (rodoTest1.bin, can not attach to this post sorry).
I program the project from cubeIDE and to test it I run the program without the sound file. I get noise on the headphones as expected. There is no sound file but there is data and it is being read so I expect noise. Then I use the cubeProgrammer to download "rodoTest1.bin" to the address 0x08080000 but I still get noise. What Am I doing wrong? BTW "rodoTest1.bin" is supposed to be stereo, 16-bit PCM, 48kHz sampling. headerless. I used Audacity to create it. Here is what the AudioPlay_demo() looks like. It runs inside a freeRTOS task (audioTest_task):
These principles are not platform-specific. The ideas in this post apply equally to real-time audio programming on Windows, Mac OS X, iOS, and Linux using any number of APIs including JACK, ASIO, ALSA, CoreAudio AUHAL, RemoteIO, WASAPI, or portable APIs such as SDL, PortAudio and RTAudio.
Audio programming is between a rock and a hard place: either use mutexes and pray they properly inherit priority, or use memory barriers and write code that no sane man or woman can determine is correct or not. Something will have to give: OSes will have to either provide a library of lock-free algorithms for use in audio contexts (a long shot), or provide mutexes which properly inherit priority (except on Mac OS X/iOS, a long shot too).
In theory, multi-core ARM is indeed nothing new from multi-proc ppc. However, Olivier Guilyardi on the andraudio list said my blog post was the first time he heard of barrierless FIFO/ringbuffer code actually failing in practice (and this matches my experience preparing that blog post). So I was under the impression that available ringbuffer code was unprepared, but I may have judged too soon.
Thank you for the excellent info, Ross. And sorry for necroing an old post.
Everything you write rings true, but how do you deal with large files that need to be streamed, m y scenario being background music in a video game on Android smartphones.
I would like to avoid loading a whole song into RAM, since I already keep sound effects resident in it (due to latency woes).
Instead I decode songs to a cache file on disk during initialization (from vorbis to pcm), in order to avoid doing so during the audio callback later. During the callback I then fill an audio double buffer by reading from the cache file. Obviously I have to call read for that, but otherwise I try to avoid all kinds of computations inside of the callback.. Do you think leaving the audio buffer large enough (couple seconds of data, since latency is no issue for background music) would be a good enough approach? Or maybe I should decode the file during the callback, in order to keep the amount of data read small (since the difference between vorbis and pcm is quite significant). Any experiences you can share?
It is neat to see such there has been such an important real-time application sitting right under my nose on regular desktop systems since before I learned C. An application whose developers do such a good job implementing, I have never given this any thought before. Of course the tiniest hiccup is going to be dire, and yet nobody ever talks about bending over backwards to make sure audio threads are not interrupted.
I am frankly amazed many of the stupid things I have done in years past did not royally hose audio playback in my software. This stuff is fragile, yet seemingly idiot proof enough to be used by people who know nothing about scheduling.
H2O Audio founded in 2003 in San Diego, California designs and builds products that give your sport nothing less than an exceptional audio experience. For over a decade now we have focused on high quality products you can trust. 'Your Sport - Your Music'
The conference is being billed as a major biodiversity COP, because it is expected to lead to the adoption of a new Global Biodiversity Framework, guiding actions worldwide through 2030, to preserve and protect our natural resources.
With some of the best music streaming services paired with these wireless speakers, like the fantastic KEF LS50 wireless II, you can now get CD-quality (and even higher-res) music files streamed directly from your phone, tablet, computer and so on. This is a massive convenience for audio listeners but how would it fare in a more creative capacity? Well, we can actually explore that question, thanks to audio company AIAIAI.
First of all though, what is latency? In production, latency in a nutshell is the time difference between data being captured and then transferred over a network to a user. For example, in audio streaming, if a live concert is being broadcast, the time difference between the live show and when a listener hears it on their device has a delay. And it tends to be much more obvious in video streaming.
The same can be said for listening too. Having done countless audio demos during my time in A/V retail, the majority of problems came when trying to stream things, especially to wireless streaming players or speakers. Tracks would pause, drop in and out or just refuse to play, which is highly embarrassing in front of a customer. Wired hi-fi? No problems. Vinyl played like a dream and CDs began with ease. The only big problems came when the speaker cable to the speaker itself was loose. Give me a wired setup over wireless any day.
James is the TV Hardware Staff Writer at TechRadar. Before joining the team, he worked at a major UK based AV retailer selling TV and audio equipment, where he was either telling customers the difference between OLED and QLED or being wowed by watching a PS5 run on the LG 65G2. When not writing about the latest TV tech, James can be found gaming, reading, watching rugby or coming up with another idea for a novel.
this solution completely worked for me, as discord automatically muted Chrome after I messed with some mic and audio settings. Took me a bit of troubleshooting to figure it out, its actually a feature which enables discord to reduce or completely mute the sound from other apps while you or someone else is talking. If you change the settings of discord before you got the audio problem on Chrome, you know why now.
This is difficult to remember and to practise. When I sit still, even for a few minutes, listening to the sounds coming in through the window, feeling the air, I remember that to experience whatever is happening right now, be it outside or inside this body, is to find joy in being alive, and to have the sense that this is what life is for. It is uncomplicated and uneventful.
The truth is that this is no more than my little, unimportant life: no special mission to accomplish; no requirements. I try to make my life important. I want it to mean something, to be more than ordinary. It is this from which I try to hide, run away. I look for excitement to fill the emptiness of being a creature (i.e. one shaped by an other) whose meaning is no more and no less than this moment-by-moment. And to be a creature is to have no foot-hold, no solid ground, no security. It is to be empty: I cannot self-create.
What would it be like to come to Jesus like this, knowing that nothing is required by way of ambition and progress? No need to be special: I am not special. I am a merely creature. What would it be like to see every encounter in this light? Each other is also a merely creature and all ambition is distraction from the fundamental, essential, common concern of being alive, now and here, in God.
I have a master script for buttons that I attach to every single button I create. In this script I specify that the button nodes are to add a child that plays audio when focused on. I call this audio Move. The idea for this audio is that when you move between buttons, the audio will play, giving audible feedback that the input to move from one button to the other was successful.
The downside to how I designed this is that the audio plays as soon as any buttons are on the screen, i.e. when the Title Screen "New Game/Continue/Options buttons fade in for the first time, or when you pause. In other words, as soon as a button comes on screen and is focused on, it makes this noise, rather than only when the focus is switched from one button to the next.
You could have a boolean in the scenes ready which is set to false and only allow the audio to play if the boolean is true. Once the initial period has passed you could then set that boolean to true so the behaviour you want works as expected.
3) Added a line of code to my pause menu code (just a good example of something in my game with a bunch of buttons that enters and leaves the screen frequently) that says when the state is switched from being in the pause menu to being unpaused, set the global variable to false to shut the audio off (so that it doesn't play the move sound when the focus exits from the button that was just on screen in the pause menu), and then when the tween of the pause menu exiting the screen ends, set the global variable back to true to play the audio next time the game's paused:
Being and Nothingness: An Essay on Phenomenological Ontology (French: L'Être et le néant : Essai d'ontologie phénoménologique), sometimes published with the subtitle A Phenomenological Essay on Ontology, is a 1943 book by the philosopher Jean-Paul Sartre. In the book, Sartre develops a philosophical account in support of his existentialism, dealing with topics such as consciousness, perception, social philosophy, self-deception, the existence of "nothingness", psychoanalysis, and the question of free will.
While a prisoner of war in 1940 and 1941, Sartre read Martin Heidegger's Being and Time (1927), which uses the method of Husserlian phenomenology as a lens for examining ontology. Sartre attributed the course of his own philosophical inquiries to his exposure to this work. Though influenced by Heidegger, Sartre was profoundly skeptical of any measure by which humanity could achieve a kind of personal state of fulfillment comparable to the hypothetical Heideggerian "re-encounter with Being". In Sartre's account, man is a creature haunted by a vision of "completion" (what Sartre calls the ens causa sui, meaning literally "a being that causes itself"), which many religions and philosophers identify as God. Born into the material reality of one's body, in a material universe, one finds oneself inserted into being. In accordance with Husserl's notion that consciousness can only exist as consciousness of something, Sartre develops the idea that there can be no form of self that is "hidden" inside consciousness. On these grounds, Sartre goes on to offer a philosophical critique of Sigmund Freud's theories, based on the claim that consciousness is essentially self-conscious.
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