Lately, I’ve been socially distancing a home and so there’s been a few projects that have been considered that otherwise wouldn’t ordinarily get a look in on a count of lack-of-time.
One of these has been setting up a Raspberry Pi with DRAWS board for use on the bicycle as a radio interface. The DRAWS interface is basically a sound card, RTC, GPS and UART interface for radio interfacing applications. It is built around the TI TMS320AIC3204.
Right now, I’m still waiting for the case to put it in, even though the PCB itself arrived months ago. Consequently it has not seen action on the bike yet. It has gotten some use though at home, primarily as an OpenThread border router for 3 WideSky hubs.
My original idea was to interface it to Mumble, a VoIP server for in-game chat. The idea being that, on events like the Yarraman to Wulkuraka bike ride, I’d fire up the phone, connect it to an AP run by the Raspberry Pi on the bike, and plug my headset into the phone:144/430MHz→2.4GHz cross-band.
That’s still on the cards, but another use case came up: digital. It’d be real nice to interface this over WiFi to a stronger machine for digital modes. Sound card over network sharing. For this, Mumble would not do, I need a lossless audio transport.
Audio streaming options
For audio streaming, I know of 3 options:
- PulseAudio network streaming
netjacktrx
PulseAudio I’ve found can be hit-and-miss on the Raspberry Pi, and IMO, is asking for trouble with digital modes. PulseAudio works fine for audio (speech, music, etc). It will make assumptions though about the nature of that audio. The problem is we’re not dealing with “audio” as such, we’re dealing with modem tones. Human ears cannot detect phase easily, data modems can and regularly do. So PA is likely to do things like re-sample the audio to synchronise the two stations, possibly use lossy codecs like OPUS or CELT, and make other changes which will mess with the signal in unpredictable ways.
netjack is another possibility, but like PulseAudio, is geared towards low-latency audio streaming. From what I’ve read, later versions use OPUS, which is a no-no for digital modes. Within a workstation, JACK sounds like a close fit, because although it is geared to audio, its use in professional audio means it’s less likely to make decisions that would incur loss, but it is a finicky beast to get working at times, so it’s a question mark there.
trx was a third option. It uses RTP to stream audio over a network, and just aims to do just that one thing. Digging into the code, present versions use OPUS, older versions use CELT. The use of RTP seemed promising though, it actually uses oRTP from the Linphone project, and last weekend I had a fiddle to see if I could swap out OPUS for linear PCM. oRTP is not that well documented, and I came away frustrated, wondering why the receiver was ignoring the messages being sent by the sender.
It’s worth noting that trx probably isn’t a good example of a streaming application using oRTP. It advertises the stream as G711u, but then sends OPUS data. What it should be doing is sending it as a dynamic content type (e.g. 96), and if this were a SIP session, there’d be a RTPMAP sent via Session Description Protocol to say content type 96 was OPUS.
I looked around for other RTP libraries to see if there was something “simpler” or better documented. I drew a blank. I then had a look at the RTP/RTCP specs themselves published by the IETF. I came to the conclusion that RTP was trying to solve a much more complicated use case than mine. My audio stream won’t traverse anything more sophisticated than a WiFi AP or an Ethernet switch. There’s potential for packet loss due to interference or weak signal propagation between WiFi nodes, but latency is likely to remain pretty consistent and out-of-order handling should be almost a non-issue.
Another gripe I had with RTP is its almost non-consideration of linear PCM. PCMA and PCMU exist, 16-bit linear PCM at 44.1kHz sampling exists (woohoo, CD quality), but how about 48kHz? Nope. You have to use SDP for that.
Custom protocol ideas
With this in mind, my own custom protocol looks like the simplest path forward. Some simple systems that used by GQRX just encapsulate raw audio in UDP messages, fire them at some destination and hope for the best. Some people use TCP, with reasonable results.
My concern with TCP is that if packets get dropped, it’ll try re-sending them, increasing latency and never quite catching up. Using UDP side-steps this, if a packet is lost, it is forgotten about, so things will break up, then recover. Probably a better strategy for what I’m after.
I also want some flexibility in audio streams, it’d be nice to be able to switch sample rates, bit depths, channels, etc. RTP gets close with its L16/44100/2 format (the Philips Red-book standard audio format). In some cases, 16kHz would be fine, or even 8kHz 16-bit linear PCM. 44.1k works, but is wasteful. So a header is needed on packets to at least describe what format is being sent. Since we’re adding a header, we might as well set aside a few bytes for a timestamp like RTP so we can maintain synchronisation.
So with that, we wind up with these fields:
- Timestamp
- Sample rate
- Number of channels
- Sample format
Timestamp
The timestamp field in RTP is basically measured in ticks of some clock of known frequency, e.g. for PCMU it is a 8kHz clock. It starts with some value, then increments up monotonically. Simple enough concept. If we make this frequency the sample rate of the audio stream, I think that will be good enough.
At 48kHz 16-bit stereo; data will be streaming at 192kbps. We can tolerate wrap-around, and at this data rate, we’d see a 16-bit counter overflow every ~341ms, which whilst not unworkable, is getting tight. Better to use a 32-bit counter for this, which would extend that overflow to over 6 hours.
Sample rate encoding
We can either support an integer field, or we can encode the rate somehow. An integer field would need a range up to 768k to support every rate ALSA supports. That’s another 32-bit integer. Or, we can be a bit clever: nearly every sample rate in common use is a harmonic of 8kHz or 11.025kHz, so we devise a scheme consisting of a “base” rate and multiplier. 48kHz? That’s 8kHz×6. 44.1kHz? That’s 11.025kHz×4.
If we restrict ourselves to those two base rates, we can support standard rates from 8kHz through to 1.4MHz by allocating a single bit to select 8kHz/11.025kHz and 7 bits for the multiplier: the selected sample rate is the base rate multiplied by the multipler incremented by one. We’re unlikely to use every single 8kHz step though. Wikipedia lists some common rates and as we go up, the steps get bigger, so let’s borrow 3 multiplier bits for a left-shift amount.
7 6 5 4 3 2 1 0
B S S S M M M M
B = Base rate: (0) 8000 Hz, (1) 11025 Hz
S = Shift amount
M = Multiplier - 1
Rate = (Base << S) * (M + 1)
Examples:
00000000b (0x00): 8kHz
00010000b (0x10): 16kHz
10100000b (0xa0): 44.1kHz
00100000b (0x20): 48kHz
01010010b (0x52): 768kHz (ALSA limit)
11111111b (0xff): 22.5792MHz (yes, insane)Other settings
I primarily want to consider linear PCM types. Technically that includes unsigned PCM, but since that’s losslessly transcodable to signed PCM, we could ignore it. So we could just encode the number of bytes needed for a single channel sample, minus one. Thus 0 would be 8-bits; 1 would be 16-bits; 2 would be 32-bits and 3 would be 64-bits. That needs just two bits. For future-proofing, I’d probably earmark two extra bits; reserved for now, but might be used to indicate “compressed” (and possibly lossy) formats.
The remaining 4 bits could specify a number of channels, again minus 1 (mono would be 0, stereo 1, etc up to 16).
Packet type
For the sake of alignment, I might include a 16-bit identifier field so the packet can be recognised as being this custom audio format, and to allow multiplexing of in-band control messages, but I think the concept is there.
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