The German Navy successfully completed a dual firing trial of Israel Aerospace Industries’ Naval LORA ballistic missile, launching the weapon from an operational German vessel and hitting its target with precision in both test scenarios, IAI said. The trial was conducted as part of the German Navy’s Operational Experimentation program, known as OPEX, a testing […]

Drone control links are, from a radio signals perspective, nothing short of amazing: using a transmitter capable of transmitting, at most, one watt, a protocol such as ExpressLRS (ELRS) can control a drone over 100 kilometers away. [Stan], who has been building a drone electronics stack from scratch, recently designed four ELRS receivers and went over the principles behind their incredible range.

Up to a certain point, the simplest way to increase a radio’s range is to lower the frequency; lower radio frequencies penetrate better through most materials and don’t attenuate as quickly with distance. However, although ELRS can use 900 MHz bands, [Stan]’s receivers primarily use 2.4 GHz. The major improvement is in modulation: unlike other control protocols, which mostly use frequency modulation, or Wi-Fi, which uses phase and amplitude modulation, ELRS uses Chirp Spread Spectrum modulation. This has a low data rate, but it’s very reliable; every bit is transmitted as a chirp – a linearly rising radio tone – and the data is encoded in the chirp’s starting frequency. To decode this, the receiver multiplies it with an inverse chirp, then takes a fast Fourier transform, revealing the starting frequency. This process has an equivalent gain of 24 dB, which is enough to let it decode signals even below the receiver’s noise floor.

The hardware [Stan] designed to implement this was comparatively simple, just an ESP32 microcontroller, an SX1281 radio chip, and a few peripherals. All four receivers worked in 2.4 GHz, but two had additional 900 MHz antennas. Against RF design convention, one of the receivers used a via to connect the antenna. This would normally cause a significant impedance mismatch, but since there were enough ground-plane vias nearby, the current return path was barely affected; the receiver’s performance hardly changed. In one test, all four receivers maintained a connection at more than five kilometers, despite a forest blocking the signal’s path.

We previously covered ExpressLRS when it was still an emerging technology. To get this kind of range, it builds on LoRa technology, which has reached some impressive distance records.

Thanks to [Keith Olson] for the tip!

Some projects seem too good to be true until you dig into it and find the secret magic that makes it all work. Take Paper Tunes by [Makestreame], a project which purports to store a song on a single sheet of paper via QR code and transmit the data over LoRA. If it was a MIDI sequence, maybe. But the promise of Paper Tunes is to take any MP3 and give it this treatment, and that just seems like an impossible level of compression at first glance.

The music is heavily compressed, make no doubt about that. There’s samples in the Instructables link above and in the video below, but it sounds far better than it has any right to. The secret is Meta’s EnCodec neural codec, which like you’d guess uses neural nets to squeeze the absolute minimum information needed to reconstruct a sample. With it [Makestreame] is able to get a 2.9 MB MP3 file down to just 21.44 kB.

Of course, that’s still not going to fit in a 3.3 kB QR code. But by simply making eight of them, [Makestreame] is able to fit the song onto the front and back of a piece of paper. Yes, each song has an “A” and a “B” side — and you thought flipping a record halfway through got old fast. Having to scan eight codes to get one song may strike some as a bit silly, but we do enjoy some silly things here.

The same EnCodec compression that gets the song so tiny as to fit in a brace of QR codes is obviously also what enables its transmission over LoRA. While it’s got far lower bandwidth than something like WiFi, 21 kB is well within its limits. It’s often said that LoRA isn’t suitable for audio, but this project is another example that one person’s “unsuitable” is another person’s “challenge accepted”.

We’ve seen other LoRA audio projects before. Speaking of things not suitable for audio, we once featured an entire album crammed onto a floppy disk.