Cassette data information - Revision history

Arnoldemu: /* Writing */

2017-06-08T18:32:00Z

‎Writing

Arnoldemu: /* Writing */

2017-06-08T18:31:39Z

‎Writing

Arnoldemu: /* Reading */

2017-06-08T18:30:42Z

‎Reading

Arnoldemu: /* Various Audio file formats */

2017-06-08T18:30:12Z

‎Various Audio file formats

Arnoldemu: /* Duplication of cassettes */

2017-06-08T18:29:52Z

‎Duplication of cassettes

Arnoldemu: /* What settings should you use? */

2017-06-08T18:29:29Z

‎What settings should you use?

Polluks: /* Various Audio file formats */ typo

2015-09-16T14:26:34Z

‎Various Audio file formats: typo

Phi2x: /* Illustrations and explanations of digital audio */

2012-12-05T20:45:11Z

‎Illustrations and explanations of digital audio

Phi2x: /* Illustrations and explanations of digital audio */

2012-12-05T20:34:10Z

‎Illustrations and explanations of digital audio

Phi2x: /* Illustrations and explanations of digital audio */

2012-12-05T20:32:10Z

‎Illustrations and explanations of digital audio

← Older revision		Revision as of 18:32, 8 June 2017
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	If the state of bit 5 is changed at a fixed frequency, then the graph of the state of bit 5 over time will be a square wave. However, the resulting audio written on the cassette will not be a perfect square wave because nature will attempt to convert the waveform into a sine wave.		If the state of bit 5 is changed at a fixed frequency, then the graph of the state of bit 5 over time will be a square wave. However, the resulting audio written on the cassette will not be a perfect square wave because nature will attempt to convert the waveform into a sine wave.
−	~~Loading system audio waveform~~

	The exact definition of the loading systems's audio waveform is defined by the loader program.		The exact definition of the loading systems's audio waveform is defined by the loader program.

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 If the state of bit 5 is changed at a fixed frequency, then the graph of the state of bit 5 over time will be a square wave. However, the resulting audio written on the cassette will not be a perfect square wave because nature will attempt to convert the waveform into a sine wave.
 Loading system audio waveform
 The exact definition of the loading systems's audio waveform is defined by the loader program.
 == Example of a typical loading system ==

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 . The CPC464 and CPC464+ have a cassette player built in. To connect a cassette player to the CPC664, CPC6128 or KC Compact then you must use a lead.
 . It is not known exactly how the amplitude of the sound from the cassette corresponds to the final "0" or "1" measurement.
 === Writing ===

← Older revision		Revision as of 18:30, 8 June 2017
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	The "format" of a file describes the internal structure, order and encoding of the data within the file.		The "format" of a file describes the internal structure, order and encoding of the data within the file.
−
−	~~Here is a list of the audio file formats supported by samp2cdt:~~
−
−	* Windows Wave file (a file which has the ".wav" file extension) is the common file format used for audio sounds on computers running "Windows".
−	* A Voice Wave file (a file which has the ".voc" file extension) was created by Creative for the original Soundblaster ISA sound card. This file format is used by the original voc2tzx utility which samp2cdt was developed from.
−	* A Audio Interchange file (a file which has the ".aiff" or ".aif" file extension) is the common file format used for audio sounds on the Mac computer.
−	* A file which has the ".iff" file extension is the common file format used for audio sounds by the Amiga computer.

	==Links==		==Links==

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 A loader on the computer must therefore be able to identify the actual sound of the data from other sounds that are on the cassette. If it can't do this, then there will be loading errors.
-If you are transfering a cassette using samp2cdt, then you are advised to use an original (i.e. a cassette created directly from a master cassette), or a first generation copy (i.e. a cassette copied from an original).
+If you are transfering a cassette using CSW2CDT, then you are advised to use an original (i.e. a cassette created directly from a master cassette), or a first generation copy (i.e. a cassette copied from an original).
 == Loader ==

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 All modern sound cards should support 8-bit and 16-bit samples and sample rates of 22050 Hz and 44100 Hz. Some sound cards will support a greater range of recording rates which can be lower and higher than these values. The familiar format of CD audio uses a sampling rate of 44100 Hz and a bit-depth of 16-bits. These values are more than adequate to represent almost all real-world signals for listening by humans - and also, conveniently, are fine for Amstrad tapes, too! In fact, in theory, because the standard Amstrad tape routines have a maximal frequency of 2500 Hz, settings as low as 8000 Hz and 8 bits would probably be fine. However, you will probably want to use higher settings, just in case and/or to keep in line with more common formats such as CD audio, especially if you intend to archive your recordings.
 The hardware tape data separator inside the CPC only extract 1-bit of information out of the sound signal that comes in. So, using 16-bit instead of 8-bit samples provides no gain at all.
 ===Illustrations and explanations of digital audio===

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 == Various Audio file formats ==
-There are numerous Audio file formats, each of which can store audio, but each has it's own structures and representation for the data.
+There are numerous Audio file formats, each of which can store audio, but each has its own structures and representation for the data.
 The "format" of a file describes the internal structure, order and encoding of the data within the file.

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 [[Image:wave7.gif]]
-''Fig 7. An amplitude/time graph showing the sampled waveform. As explained in the note for Figure 4, this is only a visual representation of the digitally stored audio, '''not''' of the signal that would be output by any competent audio card. However, it does illustrate how low sampling rates reduce the bandwidth of frequencies: This waveform was generated at a low sample rate, and therefore the resulting waveform is much more coarse compared to Fig 4. Notice that although the general shape is similar to the original waveform, much of the smoothness is is lost between the time of each measurement. The loss of smoothness also means loss of information: the lower the sampling rate, the more information is lost; in other words, the maximal frequency that the signal can represent is lower. Similarly, lower bit-depths mean that the signal is less accurate, and in extreme cases can generate audible noise. Therefore, to record a sound, it is best to use relatively high sampling rate and bit-depth; CD audio's 44.1 kHz and 16 bits should be more than adequate for most uses, especially storage of CPC cassettes.''
+''Fig 7. An amplitude/time graph showing the sampled waveform. As explained in the note for Figure 4, this is only a visual representation of the digitally stored audio, '''not''' of the signal that would be output by any competent audio card. However, it does illustrate how low sampling rates reduce the bandwidth of frequencies: This waveform was generated at a low sample rate, and therefore the resulting waveform is much more coarse compared to Fig 4. Notice that although the general shape is similar to the original waveform, much of the smoothness is is lost between the time of each measurement. The loss of smoothness also means loss of information: the lower the sampling rate, the more information is lost; in other words, the maximal frequency that the signal can represent is lower. Similarly, lower bit-depths mean that the signal is less accurate, and in extreme cases can generate audible noise. Therefore, to record a sound, it is best to use relatively high sampling rate and bit-depth; CD audio's 44.1 kHz and 16-bit should be more than adequate for most uses. Due to the way the CPC hardware process the sound signal, 16-bit has zero advantage over 8-bit for CPC cassettes. To sum it up, 44.1kHz and 8-bit is recommended for storage of CPC cassettes.''
 Notes:

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 On a side note, the WAV sound container only allows 8-bit unsigned samples, so there is no ambiguity as to how to interpret 8-bit samples.
 Note that both (albeit more obvious in the latter) share a feature typical of binary-encoded numbers: there is no exact 'centre' value, because the total number of possible values is even. In the context of audio, this means that, if the signal spanned the entire range, its centre (average) would be slightly off-zero (in this case, below), which is known as a DC offset. However, even if this did occur, it would be negligible and certainly not audible by humans!
-The fact there is no 'centre' value is actually a good thing, as the CPC as to convert the sound signal that comes in to a single bit, determining whether the signal is low or high.
+The fact there is no 'centre' value is actually a good thing, as the CPC has to convert the sound signal that comes in to a single bit, determining whether the signal is low or high.
 == Duplication of cassettes ==

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 * A 8-bit signed sample has values between -128 and 127. In this range, -128 represents a low amplitude, and 127 high amplitude, and the amplitudes increase linearly from -128 to 127.
 Both methods can represent the same data, just in different ways (techies will be able to compare this to their knowledge of Z80 assembly), so there is no advantage to using either. The original reason for the two methods is due to the original method to playback the sound. Modern sound cards can play audio stored in both ways.
 Note that both (albeit more obvious in the latter) share a feature typical of binary-encoded numbers: there is no exact 'centre' value, because the total number of possible values is even. In the context of audio, this means that, if the signal spanned the entire range, its centre (average) would be slightly off-zero (in this case, below), which is known as a DC offset. However, even if this did occur, it would be negligible and certainly not audible by humans!
 == Duplication of cassettes ==