The setup wizard, the server and the client each carried their own idea of
what a valid config looks like: trx-configurator validated with hand-written
toml_edit key lists while the binaries validated with serde plus their own
validate(). Nothing kept the three in sync.
Move ServerConfig, ClientConfig, the section loader, the shared validators and
the endpoint-URL parsing into a new trx-config crate that all three depend on,
so there is one definition of the config to drift from. The binaries keep a
thin crate::config re-export so their internal paths are unchanged.
Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01SyX26FCpMQxiBoC7r5K1A7
Signed-off-by: Stan Grams <sjg@haxx.space>
A new decoder crate covering the modes SSTV is actually sent in: Martin
M1/M2, Scottie S1/S2/DX, Robot 36/72, PD50 through PD290, and Wraase
SC2-180. The mode comes from the VIS header every transmission opens
with, so nothing has to be told what is arriving.
Modes are a table rather than code: a list of segments -- sync, gaps,
and one scan per colour channel -- plus a colour model and a geometry.
The decoder reads the offset of each scan straight off that list, which
is what makes fifteen modes cost about as much as one, and a new mode a
table entry. The segment lists are checked against the published line
durations in a test, because both are transcribed by hand from the same
specification and a digit wrong in one is unlikely to be wrong
identically in the other.
Signal path: band-pass over the SSTV band, Hilbert FIR, instantaneous
frequency by phase difference, then a state machine that walks the
transmission a line at a time. Each line is looked for where the mode
says it should be and nudged into place by the sync pulse found near
it -- two sound cards never agree exactly, and over the two minutes of a
Martin M1 frame an uncorrected error of a few parts per million shears
the picture visibly. Rows are emitted as they decode, so a picture can
be watched arriving, which is most of the appeal of the mode.
Four things this cost, each now the reason a piece of it is shaped the
way it is:
The per-sample frequency estimate ripples by ±95 Hz at 1200 Hz, where
the Hilbert approximation is weakest, though its mean is exact. Pixels
average over their own window and were always right; the VIS bits and
the sync detector classify individual samples and were reading the
ripple. Both now read short means. Pixels deliberately still do not,
so edges stay where they are.
Broadband noise cost the whole picture, not part of it: a
phase-difference detector answers whatever is loudest, and there was no
input filter. Hence the band-pass, which is what every real decoder
does first.
A sync search window shorter than a sync pulse rejected every pulse
arriving late in it, for being short.
The first line's sync search locked onto the VIS stop bit -- 30 ms at
exactly the sync frequency, immediately before the picture starts. The
header already says where the picture begins, so the first line no
longer searches.
Tests: nine modes are encoded from a test card and decoded back,
compared pixel by pixel, alongside silence around the signal, a
transmission cut off part way, two transmissions back to back, 20 dB of
noise, and a transmitter clock 0.1% fast. The encoder that produces
those signals reads the same table as the decoder, so a round trip
tests the decoder and not the timings; the timings are held to the
published line durations separately.
Nothing is wired into the server or the web UI yet: this is the decoder
alone.
Signed-off-by: Stan Grams <sjg@haxx.space>
sjgandClaude Opus 5