APE tags are yet another method of tagging media files with metadata. Ever wondered how your MP3 player knows the title and the artist of a song? Well it is through the use of tags implanted within the file, making sure the player does not try to play the information. The three most popular MP3 tag types are:

1. ID3v1 – the original tagging format form 1993 using a fixed field block with a title, artist and album. All in iso-8859-1, so you probably could still correctly spell Röyksopp and Sigur Rós, but you will have problems adding the artist 峰厚介 – 市川秀男 – 日野元彦 – 植松孝夫 – 池田芳夫 – 稲葉国光 playing track ジンジャーブレッド・ボーイ, both due to the characters used and the 30 character limit in each field.
2. ID3v2 – came in 1998 with the solution of using flexible and definable fields and allowing the tag to be places at the start of the file. The flexibility allowed apps to keep any kind of information they liked within the file. Everything from the maximum volume of the track to album artwork.
3. APE – was implemented in parallel with ID3v2 and solves the same issues and the format is even more versatile.

ID3v2 is the most common tag format in MP3 files “in the wild” and most taggers will add an ID3v1 tag from the ID3v2 tag data just to cover both bases. APE, although not as common due to its flexibility, is the preferred tag format in many applications. Rhythmbox for example looks for an APE tag, then an ID3v2 and at a last resort tries an ID3v1. The problem is that most Linux tagging tools, and players which allow you to edit the tags, only write ID3 tags. This creates a bizarre situation where you change the tag of a song in Rhythmbox, the value in the field changes, the ID3 tag is updated in the file, Rhythmbox notices an updated file, it re-reads the file APE tags, changes the field back to it’s original value.

How to kill APE tags?

This is something I have struggled over for several years. There are pieces of Linux software which can edit APE tags, but I found these get confused by the presence of an ID3 tag. For ages, I would remove the ID3 tag from a file, remove the APE tag, then re-insert the ID3 information. This was both clumsy and dangerous as my hacky shell scripts would often do disastrous things with tags that have escaping characters (If you are in a band, release a song named \” rm -Rf *; ).

The pain lasted until the other day, when I looked around and found py-ApeTag. Wow, it just works (that’s my favourite type of working). It removes the APE tags even when obscured by other tags and worked even in cases where I gave up trying to use other software to remove the tag and went by hand with hexedit to damaging the field names so they would not conflict. Applied it to my entire music collection without a single fault. Thank you Jeremy Evans!

How to use

To install, as root, download my altered version of the py-ApeTag module to some bin directory and make it executable.

su
wget http://brej.org/blog/wp-content/uploads/2009/11/ApeTag -O/usr/bin/ApeTag
chmod a+x /usr/bin/ApeTag

To run, execute ApeTag with the filenames of the files you wish to view the APE tag of.

ApeTag *.mp3

Now that you can see the tags, you can remove them. You can apply this to files with no tag and it will not touch them.

ApeTag --delete *.mp3

To apply to all files in your library.

find -name \*.mp3  -exec ApeTag {} \;

The Fedora 12 release is coming up and I wanted to make some special icing for cupcakes for the release day. This is my first time working with icing sugar so it is mainly based on guess work.

Instructions

In all steps, make sure everything is very dry. Icing sugar sticks to anything with the slightest moisture.

Sift the icing sugar. It occupies a lot of volume but here is only about 200 grams.

My flat mate calls the bits around the edges of the bowl “making a mess”. I call it “preparing the surface”.

Drop one teaspoon of water into the sugar and work into the mixture with a fork. Don’t use your hands as it will stick. Keep adding tiny amounts of water, eventually a drop at a time until the mixture is blended.

Once it is all in one lump, and it is not too sticky, you can finish kneading it with your hands. Remember the surface should be very dry. The sugar on the surface is just there to mop up any moisture. If it is too crumbly, make a pit in the middle of the ball, add a drop, close it up and hope it doesn’t reach the outside before blending. If you put it on the outside it will stick to everything.

Take three quarters to a separate ball. In a bowl, blend about 2ml of blue icing dye and more sugar, until it has a similar consistency to your original ball. you may have to repeat the process to make it more blue.

Take a piece of the two balls, and blend together.

To get a good in between blue I needed to use two parts white to one part blue.

Now all the balls are finished, onto the shaping. Here is an example with the white. You can see my rolling pin in the background. Don’t use it, it messes things up.

Instead roll out to make an icing sausage.

Then use a flat edge to press it down into a rectangle. I used my clever. Use the same flat edge to pat the sides into a neat rectangle. It needs to be longer than the one shown.

Cut a piece off the end for the cross . You can see how it forms the Fedora f. You also need: cylinder (like one below) cut it into four, two dark blue strips same size as the white one, a two thirds length light blue strip and some left over dark blue icing.

Two of the cylinder slices need to have their corners rounded to make tear drop shapes. Time is of the essence here as you don’t want parts to dry out while you are making others. Start with the tear drops and curl the white around them. Add the small white and light blue strips. Add the two remaining cylinder slices and smooth them to the infinity symbol. Finally, surround the whole thing with the two blue strips (if it was one strip it would crumble).

While it is still warm, you can start stretching it. Start by squeezing the whole thing between your hands from all sides until it becomes sufficiently long to roll. Then start rolling it very slowly, evenly and gently (this is not dough, no long starch and protein strings). Here I cut it into two as I wanted two different sizes. Once it is the desired size, form a small strip with the left over blue and continue rolling back and forth without destroying the ridge.

Don’t do what I did and cut them straight away. Put the whole roll in the fridge for 10 minutes to let it firm up. The ones at the ends will be somewhat malformed.

You can see that they become misshapen if you cut while it is still soft, but they are easy to reshape. Don’t leave them on the work surface, get them onto some tin foil and into an warm oven to dry out. An hour at 50 degrees Celsius made them sufficiently crumbly to make them not stick together in a storage box.

These will last forever so long as they don’t get wet. You can have them in their crumbly state stuck into ice-cream, or add a few drops of vanilla essence which will make them soft on top of a cupcake.

Historically, when manufacturing silicon designs, it used to be a bit of engineering fun to add a little non logo or a cute little image to the design. There are some fantastic examples of this available at Silicon Zoo. Nowadays, it is actually an essential part of the process as a large visible logo makes it easy to spot the different designs on multi project wafers, and is a requirement by the people who do the wire bonding to make sure the chip is correctly oriented. The in-line image is what we send to the people connecting the silicon to the chip package using rather small wires. In the diagram there is the Utopium chip package with a, to-scale, die plot of the silicon with the logo clearly visible and all the wire connections we need. This serves two uses, firstly it shows the orientation of the chip, and secondly it makes sure we don’t have any crossing wires.

This time we are using a reather simple 48 pin DIL package which a rather retro package with relatively few pins, but it makes life easier when making the test board.

Making the Logo

So, onto making a chip logo. You first need two pieces of information, the minimum top level metal size (in my case the level 8 metal layer for the UMC 130nm process has a minimum width of 1.5um) and the size of the logo (for this example I will make one 0.75mm x 0.6mm). Using those numbers you can determine the size of your canvas (“750um x 600um” / 1.5um is roughly 500 x 400 pixles).

Next, create an image in Gimp (or equivalent) of your required size. Use black on white. Here is our example cat. This now needs to be saved as a .pnm file. When the “Data formatting” dialog pops up, select Ascii. Keep the gimp window open as we will need it later.

Now we need to run pnm2cif on the file. This was written by Andrew Bardsley and is released under the “Whatever you like” licence (GPLv2+ or BSD). Download it to the same directory as the image, and run:

> ./pnm2cif.pl <pnm-image-filename> <cell-name> <scalar> <layer-name>

The pnm file is the image, the cell-name will be the name of the new cell, the scalar is the size of the feature size, and the layer-name is the name of the metal layer used. In our case these are:

> ./pnm2cif.pl cat_logo.pnm cat_logo 1500 ME8

The scalar of 1500 is because the minimum feature size in nanometres, and ME8 is the name of the top level metal layer.

Hopefully this has now produced  a .cif file which can be imported into your layout editor. We will use Cadence Virtuoso for this. From ICFB select File -> Import -> CIF, enter the filename and set the Scale UU/DBU to 0.001 micron (the 1nm we used as a base unit) and select the library which it should be imported into. The two warnings are normal. Open up the newly imported cell and make sure it is the correct size.

Because the design is made of metal slices which are not connected we need to merge them all into one. Select all (Ctrl+A) and merge (Shift+M). Now that all the metal slices are merged, the logo is ready to go? Well, no, the design first has to pass the DRC rules.

Passing DRC

At this stage the design is covered with “Design Rule Check” faults. The most common ones are two pixels meeting at corners, like shown in the in-line image. This essentially creates an infinitely thin wire (the fabrication folk don’t like making these). So, back to gimp, to manually fix these up with a pen. If you tried to use a dithered image, at this point you will be admitting defeat and moving to a simpler design.

The next thing to fix is the maximum wire thickness. This is 30um which is 20 pixels. In order to break up the design and make sure there are no blocks thicker than 20 pixels, we first select a strip of pixels with one white pixel and 20 black. Copy this to the clipboard. Select the bucket fill tool, select pattern fill (pattern from clipboard should be selected as default) and click any large blocks. Selecting two pixels, one white and one black, and doing a flood fill creates a striped pattern which creates a diffraction grading. Get someone with a physics degree to work out the size of the lines to create (I guessed).

Now we need to repeat the whole process and run DRC to make sure there are no faults. It will probably take several attempts before all the errors are removed. At the foundry, in order to meet some other design rules, the process will do two additional things which may ruin the design: slotting (also known as cheesing) and metal fill. Slotting involves punching holes in all large metal areas, and metal fill makes sure a certain range of the area of the chip is covered with metal. To stop these from ruining the design, there usually is a layer you can add (in our case it was M8_CAD). This is acceptable only because the metal is non functional and thus does not have to adhere to some design rules. Make sure the design does not cover the whole chip, so there is enough space for the fab to metal fill.

And then you’re done. The Utopium logo looks like this. Make sure you get permission to use any copyrighted artwork or trademarked designs (I did, thanks Fedora for letting me use your logo).