I visited an Applebee’s restaurant this past weekend. The first thing I spied was a family at a table with what looked like a 7-inch tablet. It’s not an uncommon sight. However, as I moved through the restaurant, I noticed that every single table was equipped with such a tablet. It looked like this:

For a computer nerd like me, you could probably guess that I was be far more interested in this gadget than the cuisine. The thing said “Presto” on the front and “Elacarte” on the back. Putting this together, we get the website of Elacarte, the purveyors of this restaurant tablet technology. Months after the iPad was released on 2010, I remember stories about high-end restaurants showing their wine list via iPads. This tablet goes well beyond that.

How was it? Well, confusing, mostly. The hostess told us we could order through the tablet or through her. Since we already knew what we wanted, she just manually took our order and presumably entered it into the system. So, right away, the question is: Do we order through a human or through a computer? Or a combination? Do we have to use the tablet if we don’t want to?

Hardware
When picking up the tablet, it’s hard not to notice that it is very heavy. At first, I suspected that it was deliberately weighted down as some minor attempt at an anti-theft measure. But then I remembered what I know about power budgets of phones and tablets– powering the screen accounts for much of the battery usage. I realized that this device needs to drive the screen for about 14 continuous hours each day. I.e., the weight must come from a massive battery.

The screen is good. It’s a capacitive touchscreen, so nice and responsive. When I first spied the device, I felt certain it would be a resistive touchscreen (which is more accurately called a touch-and-press-down screen). There is an AC adapter on the side of the tablet. This is the only interface to the device:

That looks to me like an internal SATA connector (different from an eSATA connector). Foolishly, I didn’t have a SATA cable on me so I couldn’t verify.

User Interface
The interface options are: Order, Games, Neighborhood, and Pay. One big benefit of accessing the menu through the Order option is that each menu item can have a picture. For people who order more by picture than text description, this is useful. Rather, it would be, if more items had pictures. I’m not sure there were more pictures than seen in the print menu.
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This is something I started writing about a decade ago (and I almost certainly have some of it wrong), back when compact discs still had a fair amount of relevance. Back around 2002, after a few years investigating multimedia technology, I took an interest in compact discs of all sorts. Even though there may seem to be a wide range of CD types, I generally found that they’re all fundamentally the same. I thought I would finally publishing something, incomplete though it may be.

Physical Perspective
There are a lot of ways to look at a compact disc. First, there’s the physical format, where a laser detects where pits/grooves have disturbed the smooth surface (a.k.a. lands). A lot of technical descriptions claim that these lands and pits on a CD correspond to ones and zeros. That’s not actually true, but you have to decide what level of abstraction you care about, and that abstraction is good enough if you only care about the discs from a software perspective.

Grand Unified Theory (Software Perspective)
Looking at a disc from a software perspective, I have generally found it useful to view a CD as a combination of a 2 main components:

• table of contents (TOC)
• a long string of sectors, each of which is 2352 bytes long

I like to believe that’s pretty much all there is to it. All of the information on a CD is stored as a string of sectors that might be chopped up into a series of anywhere from 1-99 individual tracks. The exact sector locations where these individual tracks begin are defined in the TOC.

Audio CDs (CD-DA / Red Book)
The initial purpose for the compact disc was to store digital audio. The strange sector size of 2352 bytes is an artifact of this original charter. “CD quality audio”, as any multimedia nerd knows, is formally defined as stereo PCM samples that are each 16 bits wide and played at a frequency of 44100 Hz.
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During my recent effort to force myself to understand Unicode and modern text encoding/processing, I was reminded that this is something that “every programmer should just know”, an idea that comes up every so often, usually in relation to a subject in which the speaker is already an expert. One of the most absurd examples I ever witnessed was a blog post along the lines of “What every working programmer ought to know about [some very specific niche of enterprise-level Java programming]“. I remember reading through the article and recognizing that I had almost no knowledge of the material. Disturbing, since I am demonstrably a “working programmer”.

For fun, I queried the googles on the matter of what every programmer ought to know.

Specific Topics
Here is what every programmer should know about: Unicode, time, memory (simple), memory (extremely in-depth), regular expressions, search engine optimization, floating point, security, basic number theory, race conditions, managed C++, VIM commands, distributed systems, object-oriented design, latency numbers, rate monotonic algorithm, merging branches in Mercurial, classes of algorithms, and human names.

Broader Topics
20 subjects every programmer should know, 97 things every programmer should know, 12 things every programmer should know, things every programmer should know (27 items), 10 papers every programmer should read at least twice, 10 things every programmer should know for their first job.

Meanwhile, I remain fond of this xkcd comic whose mouseover text describes all that a person genuinely needs to know. Still, the new year is upon us, a time when people often make commitments to bettering themselves, and it couldn’t hurt (much) to at least skim some of the lists and find out what you never knew that you never knew.

What About Multimedia?
Reading the foregoing (or the titles of the foregoing pieces), I naturally wonder if I should write something about what every programmer should know about multimedia. I think it would look something like a multimedia programming FAQ. These are some items that I can think of:

1. YUV: The other colorspace (since most programmers are only familiar with RGB and have no idea what to make of the YUV that comes out of most video decoding APIs)
2. Why you can’t easily seek randomly to any specific frame in a video file (keyframe/interframe discussion and their implications)
3. Understand your platform before endeavoring to implement multimedia software (modern platforms, particularly mobile platforms, probably provide everything you need in the native APIs and there is likely little reason to compile libavcodec for the platform)
4. Difference between containers and codecs (longstanding item, but I would argue it’s less relevant these days due to standardization on the MPEG — MP4/H.264/AAC — stack)
5. What counts as a multimedia standard in this day and age (comparing the foregoing MPEG stack with the WebM/VP8/Vorbis stack)
6. Trade-offs to consider when engineering a multimedia solution
7. Optimization doesn’t always work the way you think it does (not everything touted as a massive speed-up in the world of computing — whether it be multithreaded CPUs, GPGPUs, new SIMD instruction sets — will necessarily be applicable to multimedia processing)
8. A practical guide to legal issues would not be amiss
9. ???

What other items count as “something multimedia-related that every programmer should know”?

I have been working on adding support for SID files — the music format for the Commodore 64 — to the game music website for awhile. I feel a bit out of my element since I’m not that familiar with the C64. But why should I let that slow me down? Allow me to go through the steps I have previously outlined in order to make this happen.

I need to know what picture should represent the system in the search results page. The foregoing picture should be fine, but I’m getting way ahead of myself.

Phase 1 is finding adequate player software. The most venerable contender in this arena is libsidplay, or so I first thought. It turns out that there’s libsidplay (originally hosted at Geocities, apparently, and no longer on the net) and also libsidplay2. Both are kind of old (libsidplay2 was last updated in 2004). I tried to compile libsidplay2 and the C++ didn’t agree with current version of g++.

However, a recent effort named libsidplayfp is carrying on the SID emulation tradition. It works rather well, notwithstanding the fact that compiling the entire library has a habit of apparently hanging the Linux VM where I develop this stuff.

Phase 2 is to develop a testbench app around the playback library. With the help of the libsidplayfp library maintainers, I accomplished this. The testbench app consistently requires about 15% of a single core of a fairly powerful Core i7. So I look forward to recommendations that I port that playback library to pure JavaScript.

Phase 3 is plug into the web player. I haven’t worked on this yet. I’m confident that this will work since phase 2 worked (plus, I have a plan to combine phases 2 and 3).

One interesting issue that has arisen is that proper operation of libsidplayfp requires that 3 C64 ROM files be present (the, ahem, KERNAL, BASIC interpreter, and character generator). While these are copyrighted ROMs, they are easily obtainable on the internet. The goal of my project is to eliminate as much friction as possible for enjoying these old tunes. To that end, I will just bake the ROM files directly into the player.

Phase 4 is collecting a SID song corpus. This is the simplest part of the whole process thanks to the remarkable curation efforts of the High Voltage SID Collection (HVSC). Anyone can download a giant archive of every known SID file. So that’s a done deal.

Or is it? One small issue is that I was hoping that the first iteration of my game music website would focus on, well, game music. There is a lot of music in the HVSC that are original compositions or come from demos. The way that the archive is organized makes it difficult to automatically discern whether a particular SID file comes from a game or not.

Phase 5 is munging the metadata. The good news here is that the files have the metadata built in. The not-so-great news is that there isn’t quite as much as I might like. Each file is tagged with title, author, and publisher/copyright. If there is more than one song in a file, they all have the same metadata. Fortunately, if I can import them all into my game music database, there is an opportunity to add a lot more metadata.

Further, there is no play length metadata for these files. This means I will need to set each to a default length like 2 minutes and do something like I did before in order to automatically determine if any songs terminate sooner.

Oddly, the issue I’m most concerned about is character encoding. This is the first project for which I’m making certain that I understand character encoding since I can’t reasonably get away with assuming that everything is ASCII. So far, based on the random sampling of SID files I have checked, there is a good chance of encountering metadata strings with characters that are not in the lower ASCII set. From what I have observed, these characters map to Unicode code points. So I finally get to learn about manipulating strings in such a way that it preserves the character encoding. At the very least, I need Python to rip the strings out of the binary SID files and make sure the Unicode remains intact while being inserted into an SQLite3 database.