Originally Published: Monday, 30 April 2001 Author: Cherry George Mathew
Published to: featured_articles/Featured Articles Page: 2/5 - [Printable]

Creating a Kernel Driver for the PC Speaker

Take a jaunty look at the basics of driver development as Cherry George Mathew guides us through the process of creating a driver for the PC speaker under Linux.

Digital Audio  << Page 2 of 5  >>

DigitalAudio, an aside.

When you hear sound, you know something near you is vibrating. If that something is a speaker cone, you know immediately that there is an electrical signal driving it. So we could always grab the signal generator by the scruff, if we want to snuff out the noise. If we want audio, we need a vibrating, or alternating, voltage. And we know that digital implies numbers, 1s and 0s. How do we put all of this stuff together and create digital audio?

Lets imagine that we want a continuous hum to wake us out of slumber in the morning. Bless the man who tries to sell this gadget to me! We need a continuous sine wave. Something like:

The numbers represent how loud the noise gets at every instant. You're involuntarily doing DSP here. DSP is a year two pain-in-the-neck paper for most Electrical Engineering undergraduates. (I'm one of them. Accept my hearty condolences.) So I better mention that you're actually looking at samples. These values are all you need to recreate the wave we need. Do that continuously, and you have a continuous wave. So if we ran through the numbers starting at 1 through 7 through 0 through -1 through -7 through -1 to 0, all in a second, we'd get a very approximate sine wave at 1Hz. (Remember, Hertz is cycles per second.) Got the mechanics of the thing? Want a sine wave with a smoother curve? Just increase the number of samples you take per second. Here we've done 14. How about if it were 44000? That's the rate a CD player spews the numbers out to its DAC. DAC stands for Digital to Analog Converter, it's the little gadget that converts the 1s and 0s that make up the binary numbers that we are talking about into real analog time-varying voltage. Our little coding technique is called pulse code modulation. There are different ways to code the pulses, so we have PCM, ADPCM etc. The waveform above could be termed "4bit, signed mono PCM at 14Hz" sampling rate.

1 Bit DAC

So you ask me, where does all this come in when we're talking about the PC speaker? How about a custom timer ISR to vibrate the speaker cone at a pre-requisite frequency, so that all the ISR programmer has to do is to make the PC speaker cone move to the required amplitude (distance from the zero line) according to the sample value he gets from digital data, from a CDROM, for example. This means that we can set up a timer ISR for 44000Hz, and that is CD quality music staring at us! Perfect logic if you have a DAC to convert every sample into the corresponding analog voltage. In fact, the parallel port DAC driver does just that. Just rig a R - 2R ladder network of resistors and tie a capacitor across the output, feed it to any amplifier, even a microphone input will do, and voila, you have digital music!

Alas, things are not all that simple with the PC speaker. All because the PC speaker is not at all tied to a DAC, but of all things, to a timer chip. Take look at the waveform output of a timer chip for, say, a sine wave:

We have two discrete values to play around with: One +5V, the other 0V and nothing in between. How do we get the Analog waveform? Oh man, why hast thou asked the impossible? Ask the designers at IBM who designed the first XT mother boards!

But we do have a very fragile, subtle, solution. The techie terms are 1bit DAC, Chopping, and so on and so forth.

It's rather simple and easy to implement, and somewhere down the line, it was bound to happen. I doubt that the old XT bugger at IBM ever dreamt of 1.5 GHz Pentiums when he fixed his 8086 on the motherboard for the first time.

The idea is to drive the PC speaker cone in bursts, when we can't quite push it up to the mark smoothly. Mind you, at 22Khz the cone is a mighty lazy bloke, it reluctantly moves up to the mark. Halfway through, take a rest so that if it's overdone and the cone has overshot, it gets time to come back down. Something like antilock brakes in automobiles. When you press the brake pedal half way down, the mechanism starts alternately pushing the brakes on and off. When you're standing on the pedal, the brake shoes are not quite stuck to the wheel drum, they're hammering at a furious pace. So you don't get a locked wheel. Similarly the more frequently you hammer the speaker cone with a +5V pulse, the farther it moves from the centerline. Bingo! Vary the frequency of pulsing according to the required amplitude. I named the DOS version fm.com just to remind myself that the idea was indeed ingenuous.





Digital Audio  << Page 2 of 5  >>