Funcube with HSM upconverter

notes

After months away from this project I am at this moment listening to 40 meter cw signals via  the High Sierra Microwave (HSM) upconverter into the funcube via Max/MSP.

The Max funcube external doesn’t provide a way to turn on the bias tee current which powers the HSM device, so… I am using this version of the FCHid software to turn on bias tee, and set LNA to 0db, while using Max to tune the funcube. This is on windows and both programs can run at the same time.

http://uk.groups.yahoo.com/group/FCDevelopment/files/FCHID/

Prior versions of FCHid don’t have the checkbox for bias tee.

Next on the agenda will be to make this work in Mac OS.

First impressions: signals seem a bit weak, although it could be atmospheric conditions. Filtering isn’t great but its adequate – it just doesn’t have the ‘punch’ you get with a good selective receiver… Which is why nobody in their right might would actually design a shortwave receiver this way.

Update: got it working on mac os using version 3.2 of QtHid to toggle the bias-t – this version is the latest as of the time of this post and was bundled with the dmg.

 

Kyle McDonald on impossible projects

From “Making Things See” by Greg Borenstein

The easiest way to keep up with the current research is to work on impossible projects. When I get to the edge of what I think is possible, and then go a little further, I discover research from people much smarter than myself who have been thinking about the same problem. The papers can be tough at first, but the more you read, the more you realize they’re just full of idiosyncrasies. For example, a lot of image processing papers like to talk about images as continuous when in practice you’re always dealing with discrete pixels. Or they’ll write huge double summations with lots of subscripts just to be super clear about what kind of blur they’re doing. Or they’ll use unfamiliar notation for talking about something simple like the distance between two points. As you relate more of these idiosyncrasies to the operations you’re already familiar with, the papers become less opaque.

Artists regularly take advantage of current research in order to solve technical problems that come up in the creation of their work. But I feel that it’s also important to engage the research on its own terms: try implementing their ideas, tweaking their work, understanding their perspective. It’s a kind of political involvement, and it’s not for everyone. But if you don’t address the algorithms and ideas directly, your work will be governed by their creators’ intentions.