I created a simple schema on kicad (this one )
. Then I associated the corresponding footprint, generated the netlist file, then run pcbnew to create the PCB. But then I ended up with this mess and I don't know how to deal with it (I did draw the edge of the PCB ).
I am trying to draw a PCB that I can build myself with no crazy tool (so I guess single layer), but on this draw many line intersect with other line so not really what I was looking for a single layer PCB. Not sure it will help but all my kicad file are there kicad_file
The lines that you see are the connecting lines. In Diptrace it is called "ratlines". They obviously indicate where the connection is based on your schematic. Now on Diptrace there is an "AutoRoute" tool which will create routes (traces) based on the ratlines and it will try to do so a well as possible. I usually do the AUtoroute and if I am not happy with the result I do manual routing.
So I suggest you look for such a tool in your application. If it does not exist then don't be shy to create them yourself. Your PCB is not complicated so I am sure you will manage.
One thing to keep in mind though; If you find that traces will still intersect then there are two things you can do:
Use the space between the pins of the IC
Place pads where you can solder jumper wires.
Look at https://www.wayneandlayne.com/blog/2013/02/27/kicad-tutorial-using-the-autorouter/ for a post on autorouting
Related
I am trying to disassemble a code from a old radio containing a 68xx (68hc12 like) microcontroller. The problem is, I dont have the access to the interrupt vector of the micro in the top of the ROM, so I don't know where start to look. I only have the code below the top. There is some suggestion of where or how can I find meaningful routines in the code data?
You can't really disassemble reliably without knowing where the reset vector points. What you can do, however, is try to narrow down the possible reset addresses by eliminating all those other addresses that cannot possibly be a starting point.
So, given that any address in the memory map that contains a valid opcode is a potential reset point, you need to either eliminate it, or keep it for further analysis.
For the 68HC11 case, you could try to guess somewhat the entry point by looking for LDS instructions with legitimate operand value (i.e., pointing at or near the top of available RAM -- if multiple RAM banks, then to any of them).
It may help a bit if you know the device's full memory map, i.e., if external memory is used, its mapping and possible mapped peripherals (e.g., LCD). Do you also know CONFIG register contents?
The LDS instruction is usually either the very first instruction, or close thereafter (so look back a few instructions when you feel you have finally singled out your reset address). The problem here is some data may, by chance, appear as LDS instructions so you could end up with multiple potentially valid entry points. Only one of them is valid, of course.
You can eliminate further by disassembling a few instructions starting from each of these LDS instructions until you either hit an illegal opcode (i.e. obviously not a valid code sequence but an accidental data arrangement that looks like opcodes), or you see a series of instructions that are commonly used in 68HC11 initialization. These involve (usually) initialization of any one or more of the registers BPROT, OPTION, SCI, INIT ($103D in most parts, but for some $3D), etc.
You could write a relatively small script (e.g., in Lua) to do the basic scanning of the memory map and produce a (hopefully small) set of potential reset points to be examined further with a true disassembler for hints like the ones I mentioned.
Now, once you have the reset vector figured out the job becomes somewhat easier but you still need to figure out where any interrupt handlers are located. For this your hint is an RTI instruction and whatever preceding code that normally should acknowledge the specific interrupt it handles.
Hope this helps.
First of: Thanks for taking the time to help me with my problem. It is much appreciated :)
I am building a natural user interface. I’d like the interface to detect several (up to 40) objects lying on it. The interface should detect if the objects are moved on it’s the canvas. It is not important what the actual object on surface is
e.x. “bottle”
or what color it has – only the shape and the placement of the object is of interest
e.x. “circle” .
So far I’m using a webcam connected to my computer and Processing’s blob functionality to detect the objects on the surface of the interface (see picture 1). This has some major disadvantages to what I am trying to accomplish:
I do not want the user to see the camera or any alternative device because this is detracting the user’s attention. Actually the surface should be completely dark.
Whenever I am reaching with my hand to rearrange the objects on the interface, the blob detection gets very busy and is recognizing objects (my hand) which are not touching the canvas directly. This problem can hardly be tackled using a Kinect, because the depth functionality is not working through glass/acrylic glass – correct me if I am wrong.
It would be nice to install a few LEDs on the canvas controlled by an Arduino. Unfortunately, the light of the LEDs would disturb the blob detection.
Because of the camera’s focal length, the table needs to be unnecessarily high (60 cm / 23 inch).
Do you have any idea on an alternative device/technology to detect the objects? Would be nice if the device would work well with Processing and Arduino.
Thanks in advance! :)
Possibilities:
Use Reflective tinted glass so that the surface would dark or reflective
Illuminate the area, where you place the webcam with array of IR LED's.
I would suggest colour based detection and contouring of the objects.
If you are using colour based detection convert frames to HSV and CrCb colour space. These are much better for segmentation of required area while using colour based detection.
I do recommend you to check out https://github.com/atduskgreg/opencv-processing. This interfaces Open-CV with processing, you will be getting lot functionalities of Open-CV in processing .
One possibility:
Use a webcam with infrared capability (such as a security camera with built-in IR illumination). Apparently some normal webcams can be converted to IR use by removing a filter, I have no idea how common that is.
Make the tabletop out of some material that is IR-transparent, but opaque or nearly so to visible light. (Look at the lens on most any IR remote control for an example.)
This doesn't help much with #2, unfortunately. Perhaps you can be a bit pickier about the size/shape of the blobs you recognize as being your objects?
If you only need a few distinct points of illumination for #3, you could put laser diodes under the table, out of the path of the camera - that should make a visible spot on top, if the tabletop material isn't completely opaque. If you need arbitrary positioning of the lights - perhaps a projector on the ceiling, pointing down?
Look into OpenCV. It's an open source computer vision project.
In addition to existing ideas (which are great), I'd like to suggest trying TUIO Processing.
Once you have the camera setup (with the right field of view/lens/etc. based on your physical constraints) you could probably get away with sticking TUIO markers to the bottom of your objects.
The software will pickup detect the markers and you'll differentiate the objects by ID, but also be able to get position/rotation/etc. and your hands will not be part of that.
I am new in ableton live software. I would like to understand why for some instruments I can play several notes at the same time (and create chord progression) and for the others I can hear only one note of a chord.
For example, there are two guitars: 'Power Chords Guitar' and 'Please Rise For Jimi Guitar'. Both of them are basing on an operator. For the first one I am able to press several buttons on midi keyboard and hear a sound, for the second I can hear only one note of a chord.
I was trying to compare operator options, but I was unable to find the setting which causes this multinote/mononote functionality.
Thank you very much for your help.
J
Ableton's Operator consists of 4 monophonic oscillators. Depending on a preset, it can be setup to play polyphony. It seems that the Glide function is responsible for that effect. Make sure you have at least 2 oscillators (the more the more poly) with Glide "on" set.
Check out Ableton's webpage for reference on how to use its instruments.
Normally seek commands are executed on a filter graph, get called on the renderers in the graph and calls are passed upstream by filters until a filter that can handle the seek does the actual seek operation.
Could an individual filter seek the upstream filters connected to one or more of its input pins in the same way without it affecting the downstream portion of the graph in unexpected ways? I wouldn't expect that there wouldn't be any graph state changes caused by calling IMediaSeeking.SetPositions upstream.
I'm assuming that all upstream filters are connected to the rest of the graph via this filter only.
Obviously the filter would need to be prepared to handle the resulting BeginFlush, EndFlush and NewSegment calls coming from upstream appropriately and distinguish samples that arrived before and after the seek operation. It would also need to set new sample times on its output samples so that the output samples had consistent sample presentation times. Any other issues?
It is perfectly feasible to do what you require. I used this approach to build video and audio mixer filters for a video editor. A full description of the code is available from the BBC White Papers 129 and 138 available from http://www.bbc.co.uk/rd
A rather ancient version of the code can be found on www.SourceForge.net if you search for AAFEditPack. The code is written in Delphi using DSPack to get access to the DirectShow headers. I did this because it makes it easier to handle com object lifetimes - by implementing smart pointers by default. It should be fairly straightforward to transfer the ideas to a C++ implementation if that is what you use.
The filters keep lists of the sub-graphs (a section of a graph but running in the same FilterGraph as the mixers). The filters implement a custom version of TBCPosPassThru which knows about the output pins of the sub-graph for each media clip. It handles passing on the seek commands to get each clip ready for replay when its point in the timeline is reached. The mixers handle the BeginFlush, EndFlush, NewSegment and EndOfStream calls for each sub-graph so they are kept happy. The editor uses only one FilterGraph that houses both video and audio graphs. Seeking commands are make by the graph on both the video and audio renderers and these commands are passed upstream to the mixers which implement them.
Sub-graphs that are not currently active are blocked by the mixer holding references to the samples they have delivered. This does not cause any problems for the FilterGraph because, as Roman R says, downstream filters only care about getting a consecutive stream of sample and do not know about what happens upstream.
Some key points you need to make sure of to avoid wasted debugging time are:
Your decoder filters need to be able to queue to the exact media frame or audio time. Not as easy to do as you might expect, especially with compressed formats such as mpeg2, which was designed for transmission and has no frame index in the files. If you do not do this, the filter may wait indefinitely to get a NewSegment call with the correct media times.
Your sub graphs need to present a NewSegment time equal to the value you asked for in your seek command before delivering samples. Some decoders may seek to the nearest key frame, which is a bit unhelpful and some are a bit arbitrary about the timings of their NewSegment and the following samples.
The start and stop times of each clip need to be within the duration of the file. Its probably not a good idea to police this in the DirectShow filter because you would probably want to construct a timeline without needing to run the filter first. I did this in the component that manages the FilterGraph.
If you want to add sections from the same source file consecutively in the timeline, and have effects that span the transition, you need to have two instances of the sub-graph for that file and if you have more than one transition for the same source file, your list needs to alternate the graphs for successive clips. This is because each sub graph should only play monotonically: calling lots of SetPosition calls would waste cpu cycles and would not work well with compressed files.
The filter's output pins define the entire seeking behaviour of the graph. The output sample time stamps (IMediaSample.SetTime) are implemented by the filter so you need to get them correct without any missing time stamps. and you can also set the MediaTime (IMediaSample.SetMediaTime) values if you like, although you have to be careful to get them correct or the graph may drop samples or stall.
Good luck with your development. If you need any more information please contact me through StackOverflow or DTSMedia.co.uk
Can you add an action to multiple cases in a LabVIEW case structure?
I have a situation where I have already created a case structure with many cases. I need to add another output tunnel, but I am stuck needing to wire each case. Is there a way to tell LabVIEW to wire all of the cases and then manually change the few that are different?
Yes there is. In recent LabVIEW version (>2011 I think), you can create a 'Linked input tunnel', to do so create a left-to-right wire in one case, right click the the right-hand terminal, and select 'Linked Input Tunnel->Create & Wire Unwired Cases'. This will add the wire to all the cases and to new cases you add later: