1 **Paraslash user manual**
3 This document describes how to install, configure and use the paraslash
4 network audio streaming system. Most chapters start with a chapter
5 overview and conclude with an example section. We try to focus on
6 general concepts and on the interaction of the various pieces of the
7 paraslash package. Hence this user manual is not meant as a replacement
8 for the manual pages that describe all command line options of each
15 In this chapter we give an [overview](#Overview) of the interactions
16 of the programs contained in the paraslash package, followed by
17 [brief descriptions](#The.paraslash.executables) of all executables.
22 The core functionality of the para suite is provided by two main
23 applications, para_server and para_audiod. para_server maintains
24 the audio file database and acts as the streaming source, while
25 para_audiod is the streaming client. Usually, both run in the
26 background on different hosts but a local setup is also possible.
28 A simplified picture of a typical setup is as follows
31 .____________________.
33 .-----------------------. | .d########b. |
34 |.---------------------.| | .d############b |
35 || || | .d######""####//b. |
36 || || | 9######( )######P |
37 || || | 'b######++######d' |
38 || Screen || | "9############P" |
39 || || | "9a########P" |
41 |`---------------------'| | ________________ |
42 `-----------------------' | |________________| |
43 ___) (___ |____________________|
44 `-._______.-' loudspeaker
48 .____/ \___. ._____________. ._____/ \_____.
50 | para_gui |-----| para_audioc |-----| para_audiod |
51 |____ ___| |_____________| |_____ _____|
56 ._____/ \_____. ._____/ \_____.
58 | para_client |-----------------------| para_server |
59 |_____________| |_____ _____|
72 The two client programs, para_client and para_audioc communicate with
73 para_server and para_audiod, respectively.
75 para_gui controls para_server and para_audiod by executing para_client
76 and para_audioc. In particular, it runs a command to obtain the state
77 of para_audiod and para_server, and the metadata of the current audio
78 file. This information is pretty-printed in a curses window.
80 The paraslash executables
81 -------------------------
83 <h3> para_server </h3>
85 para_server streams binary audio data (MP3, ...) over local and/or
86 remote networks. It listens on a TCP port and accepts commands such
87 as play, stop, pause, next from authenticated clients. The components
88 of para_server are illustrated in the following diagram:
90 ______________________________________________________________________ network
94 .____/ \_____. |`-.____.-'| .____/ \____/ \____/ \____. |
96 | dispatcher | | database | | senders (http/udp/dccp) | |
97 |____ _____| | | |___________ ___________| |
98 \ / |. ' "" ` .| \ / |
104 | ._____/ \_____. .________/ \________. |
106 | | audio file |________| virtual streaming | |
107 | | selector | | system | |
108 | |_____ _____| |________ ________| |
112 | | ._________________. | |
114 | `---| command handler |---' |
120 `-------------------------' `--------------------------'
123 Incoming connections arrive at the dispatcher which creates a process
124 dedicated to the connection. Its task is to authenticate the client
125 and to run the command handler which forwards the client request to
126 either the audio file selector or the virtual streaming system. Results
127 (if any) are sent back to the client.
129 The audio file selector manages audio files using various database
130 tables. It maintains statistics on the usage of all audio files such as
131 last-played time and the number of times each file was selected. It
132 is also responsible for selecting and loading audio files for
133 streaming. Additional information may be added to the database to allow
134 fine-grained selection based on various properties of the audio file,
135 including information found in (ID3) tags. Simple playlists are also
136 supported. It is possible to store images (album covers) and lyrics
137 in the database and associate these to the corresponding audio files.
138 The section on the [audio file selector](#The.audio.file.selector)
139 discusses this topic in more detail.
141 Another component of para_server is the virtual streaming system,
142 which controls the paraslash senders. During streaming it requests
143 small chunks of data (e.g., mp3 frames) from the audio file selector
144 and feeds them to the senders which forward the chunks to connected
147 The three senders of para_server correspond to network streaming
148 protocols based on HTTP, DCCP, or UDP. This is explained in the
149 section on [networking](#Networking).
151 <h3> para_client </h3>
153 The client program to connect to para_server. paraslash commands
154 are sent to para_server and the response is dumped to STDOUT. This
155 can be used by any scripting language to produce user interfaces with
156 little programming effort.
158 All connections between para_server and para_client are encrypted
159 with a symmetric session key. For each user of paraslash you must
160 create a public/secret RSA key pair for authentication.
162 If para_client is started without non-option arguments, an interactive
163 session (shell) is started. Command history and command completion are
164 supported through libreadline.
166 <h3> para_audiod </h3>
168 The purpose of para_audiod is to download, decode and play an audio
169 stream received from para_server. A typical setup looks as follows.
172 .----------------------------.
175 ._____/ \_____. .___/ \____.
177 | para_server | | .______| receiver |
178 |_____ ____| | | |___ ____|
183 ._____/ \_____. | | .___/ \____.
185 | status task |-----+ | | filter 1 |
186 |_____________| | |___ ____|
188 | | .____________________.
190 .____________. | .___/ \____. | .d########b. |
191 | | | | | | .d############b |
192 | dispatcher |----------' | filter 2 | | .d######""####//b. |
193 |_____ ____| |___ ____| | 9######( )######P |
194 \ / \ / | 'b######++######d' |
195 | | | "9############P" |
196 | | | "9a########P" |
197 ._____/ \_____. .___/ \____. | `""""'' |
198 | | | | | ________________ |
199 | para_audioc | | writer |------| |________________| |
200 |_____________| |__________| |____________________|
203 The status task of para_audiod connects to para_server and runs the
204 "stat" command to retrieve the current server status. If an audio
205 stream is available, para_audiod starts a so-called buffer tree to
208 The buffer tree consists of a receiver, any number of filters and a
209 writer. The receiver downloads the audio stream from para_server and
210 the filters decode or modify the received data. The writer plays the
213 The dispatcher of para_audiod listens on a local socket and runs
214 audiod commands on behalf of para_audioc. For example, para_gui runs
215 para_audioc to obtain status information about para_audiod and the
216 current audio file. Access to the local socket may be restricted by
217 means of Unix socket credentials.
219 <h3> para_audioc </h3>
221 The client program which talks to para_audiod. Used to control
222 para_audiod, to receive status info, or to grab the stream at any
223 point of the decoding process. Like para_client, para_audioc supports
224 interactive sessions on systems with libreadline.
228 A command line HTTP/DCCP/UDP stream grabber. The http mode is
229 compatible with arbitrary HTTP streaming sources (e.g. icecast).
230 In addition to the three network streaming modes, para_recv can also
231 operate in local (afh) mode. In this mode it writes the content of
232 an audio file on the local file system in complete chunks to stdout,
233 optionally 'just in time'. This allows cutting audio files without
234 decoding, and it enables third-party software which is unaware of
235 the particular audio format to send complete frames in real time.
237 <h3> para_filter </h3>
239 A filter program that reads from STDIN and writes to STDOUT.
240 Like para_recv, this is an atomic building block which can be used to
241 assemble higher-level audio receiving facilities. It combines several
242 different functionalities in one tool: decoders for multiple audio
243 formats and a number of processing filters, among these a normalizer
248 A small stand-alone program that prints tech info about the given
249 audio file to STDOUT. It can be instructed to print a "chunk table",
250 an array of offsets within the audio file.
252 <h3> para_write </h3>
254 A modular audio stream writer. It supports a simple file writer
255 output plug-in and optional WAV/raw players for ALSA (Linux) and OSS.
256 para_write can also be used as a stand-alone WAV or raw audio player.
260 A command line audio player which supports the same audio formats as
261 para_server. It differs from other players in that it has an insert
262 and a command mode, like the vi editor. Line editing is based on
263 libreadline, and tab completion and command history are supported.
267 Curses-based gui that presents status information obtained in a curses
268 window. Appearance can be customized via themes. para_gui provides
269 key-bindings for the most common server commands and new key-bindings
272 <h3> para_mixer </h3>
274 An alarm clock and volume-fader for OSS and ALSA.
280 This chapter lists the [necessary software](#Requirements)
281 that must be installed to compile the paraslash package, describes
282 how to [compile and install](#Installation) the paraslash
283 source code and the steps that have to be performed in order to
284 [set up](#Configuration) a typical server and client.
288 <h3> For the impatient </h3>
290 git clone git://git.tuebingen.mpg.de/lopsub
291 cd lopsub && make && sudo make install
292 git clone git://git.tuebingen.mpg.de/osl
293 cd osl && make && sudo make install && sudo ldconfig
294 sudo apt-get install autoconf libssl-dev m4 \
295 libmad0-dev libid3tag0-dev libasound2-dev libvorbis-dev \
296 libfaad-dev libspeex-dev libflac-dev libsamplerate-dev \
297 libasound2-dev libao-dev libreadline-dev libncurses-dev \
300 <h3> Detailed description </h3>
302 In any case you will need
304 - [lopsub](http://people.tuebingen.mpg.de/maan/lopsub/). The long
305 option parser for subcommands generates the command line and config
306 file parsers for all paraslash executables. Clone the source code
309 git clone git://git.tuebingen.mpg.de/lopsub
311 - [gcc](ftp://ftp.gnu.org/pub/gnu/gcc) or
312 [clang](http://clang.llvm.org). All gcc versions >= 4.2 are currently
313 supported. Clang version 1.1 or newer should work as well.
315 - [gnu make](ftp://ftp.gnu.org/pub/gnu/make) is also shipped with the
316 disto. On BSD systems the gnu make executable is often called gmake.
318 - [bash](ftp://ftp.gnu.org/pub/gnu/bash). Some scripts which run
319 during compilation require the _Bourne again shell_. It is most
320 likely already installed.
322 - [m4](ftp://ftp.gnu.org/pub/gnu/m4/). Some source files are generated
323 from templates by the m4 macro processor.
327 - [libosl](http://people.tuebingen.mpg.de/maan/osl/). The _object
328 storage layer_ library is used by para_server. To clone the source
329 code repository, execute
331 git clone git://git.tuebingen.mpg.de/osl
333 - [openssl](https://www.openssl.org/) or
334 [libgcrypt](ftp://ftp.gnupg.org/gcrypt/libgcrypt/). At least one
335 of these two libraries is needed as the backend for cryptographic
336 routines on both the server and the client side. Both openssl and
337 libgcrypt are usually shipped with the distro, but you might have
338 to install the development package (`libssl-dev` or `libgcrypt-dev`
339 on debian systems) as well.
341 - [flex](https://github.com/westes/flex) and
342 [bison](https://www.gnu.org/software/bison) are needed to build the
343 mood parser of para_server. The build system will skip para_server
344 if these tools are not installed.
346 - [libmad](http://www.underbit.com/products/mad/). To compile in MP3
347 support for paraslash, the development package must be installed. It
348 is called `libmad0-dev` on debian-based systems. Note that libmad is
349 not necessary on the server side, i.e., for sending MP3 files.
351 - [libid3tag](http://www.underbit.com/products/mad/). For version-2
352 ID3 tag support, you will need the libid3tag development package
353 `libid3tag0-dev`. Without libid3tag, only version-1 tags are
354 recognized. The mp3 tagger also needs this library for modifying
355 (id3v1 and id3v2) tags.
357 - [ogg vorbis](https://www.xiph.org/downloads/). For ogg vorbis streams
358 you need libogg, libvorbis, libvorbisfile. The corresponding Debian
359 packages are called `libogg-dev` and `libvorbis-dev`.
361 - [libfaad and mp4ff](https://sourceforge.net/projects/faac/). For aac files
362 (m4a) you need libfaad and libmp4ff (package: `libfaad-dev`). Note
363 that for some distributions, e.g. Ubuntu, mp4ff is not part of the
364 libfaad package. Install the faad library from sources (available
365 through the above link) to get the mp4ff library and header files.
367 - [speex](https://www.speex.org/). In order to stream or decode speex
368 files, libspeex (`libspeex-dev`) is required.
370 - [flac](https://xiph.org/flac/). To stream or decode files
371 encoded with the _Free Lossless Audio Codec_, libFLAC (`libFLAC-dev`)
374 - [libsamplerate](http://www.mega-nerd.com/SRC/index.html). The
375 resample filter will only be compiled if this library is
376 installed. Debian package: `libsamplerate-dev`.
378 - [alsa-lib](ftp://ftp.alsa-project.org/pub/lib/). On Linux, you will
379 need to have the ALSA development package `libasound2-dev` installed.
381 - [libao](https://ftp.osuosl.org/pub/xiph/releases/ao/). Needed to build
382 the ao writer (ESD, PulseAudio,...). Debian package: `libao-dev`.
384 - [curses](ftp://ftp.gnu.org/pub/gnu/ncurses). Needed for
385 para_gui. Debian package: `libncurses-dev`.
388 Readline](http://cnswww.cns.cwru.edu/php/chet/readline/rltop.html). If
389 this library (`libreadline-dev`) is installed, para_client, para_audioc
390 and para_play support interactive sessions.
394 To build the sources from a tarball, execute
398 To build from git or a gitweb snapshot, run this command instead:
402 There should be no errors but probably some warnings about missing
403 packages which usually implies that not all audio formats will be
404 supported. If headers or libs are installed at unusual locations you
405 might need to tell the configure script where to find them. Try
409 to see a list of options. If the paraslash package was compiled
410 successfully, execute (optionally)
414 to run the paraslash test suite. If all tests pass, execute as root
418 to install executables under /usr/local/bin and the man pages under
424 <h3> Create a paraslash user </h3>
426 In order to control para_server at runtime you must create a paraslash
427 user. As authentication is based on the RSA crypto system you'll have
428 to create an RSA key pair. If you already have a user and an RSA key
429 pair, you may skip this step.
431 In this section we'll assume a typical setup: You would like to run
432 para_server on some host called server_host as user foo, and you want
433 to connect to para_server from another machine called client_host as
436 As foo@server_host, create ~/.paraslash/server.users by typing the
440 target=~/.paraslash/server.users
441 key=~/.paraslash/id_rsa.pub.$user
442 perms=AFS_READ,AFS_WRITE,VSS_READ,VSS_WRITE
443 mkdir -p ~/.paraslash
444 echo "user $user $key $perms" >> $target
446 Next, change to the "bar" account on client_host and generate the
447 key pair with the commands
449 ssh-keygen -q -t rsa -b 2048 -N '' -m RFC4716
451 This generates the two files id_rsa and id_rsa.pub in ~/.ssh. Note
452 that para_server won't accept keys shorter than 2048 bits. Moreover,
453 para_client rejects private keys which are world-readable.
455 para_server only needs to know the public key of the key pair just
456 created. Copy this public key to server_host:
458 src=~/.ssh/id_rsa.pub
459 dest=.paraslash/id_rsa.pub.$LOGNAME
460 scp $src foo@server_host:$dest
462 Finally, tell para_client to connect to server_host:
464 conf=~/.paraslash/client.conf
465 echo 'hostname server_host' > $conf
468 <h3> Start para_server </h3>
470 For this first try, we'll use the info loglevel to make the output
471 of para_server more verbose.
475 Now you can use para_client to connect to the server and issue
476 commands. Open a new shell as bar@client_host and try
481 to retrieve the list of available commands and some server info.
482 Don't proceed if this doesn't work.
484 <h3> Create and populate the database </h3>
486 An empty database is created with
490 This initializes a couple of empty tables under
491 ~/.paraslash/afs_database-0.7. You normally don't need to look at these
492 tables, but it's good to know that you can start from scratch with
494 rm -rf ~/.paraslash/afs_database-0.7
496 in case something went wrong.
498 Next, you need to add some audio files to that database so that
499 para_server knows about them. Choose an absolute path to a directory
500 containing some audio files and add them to the audio file table:
502 para_client add /my/mp3/dir
504 This might take a while, so it is a good idea to start with a directory
505 containing not too many files. Note that the table only contains data
506 about the audio files found, not the files themselves.
508 You may print the list of all known audio files with
512 <h3> Configure para_audiod </h3>
514 We will have to tell para_audiod that it should receive the audio
515 stream from server_host via http:
517 para_audiod -l info -r '.:http -i server_host'
519 You should now be able to listen to the audio stream once para_server
520 starts streaming. To activate streaming, execute
524 Since no playlist has been specified yet, the "dummy" mode which
525 selects all known audio files is activated automatically. See the
526 section on the [audio file selector](#The.audio.file.selector) for how
527 to use playlists and moods to specify which files should be streamed
533 To identify streaming problems try to receive, decode and play the
534 stream manually using para_recv, para_filter and para_write as follows.
535 For simplicity we assume that you're running Linux/ALSA and that only
536 MP3 files have been added to the database.
538 para_recv -r 'http -i server_host' > file.mp3
539 # (interrupt with CTRL+C after a few seconds)
540 ls -l file.mp3 # should not be empty
541 para_filter -f mp3dec -f wav < file.mp3 > file.wav
542 ls -l file.wav # should be much bigger than file.mp3
543 para_write -w alsa < file.wav
545 Double check what is logged by para_server and use the --loglevel
546 option of para_recv, para_filter and para_write to increase verbosity.
552 para_server uses a challenge-response mechanism to authenticate
553 requests from incoming connections, similar to ssh's public key
554 authentication method. Authenticated connections are encrypted using
555 the AES stream cipher in integer counter mode.
557 In this chapter we briefly describe RSA and AES, and sketch the
558 [authentication handshake](#Client-server.authentication)
559 between para_client and para_server. User management is discussed
560 in the section on [the user_list file](#The.user_list.file).
561 These sections are all about communication between the client and the
562 server. Connecting para_audiod is a different matter and is described
563 in a [separate section](#Connecting.para_audiod).
568 A block cipher is a transformation which operates on fixed-length
569 blocks. For symmetric block ciphers the transformation is determined
570 by a single key for both encryption and decryption. For asymmetric
571 block ciphers, on the other hand, the key consists of two parts,
572 called the public key and the private key. A message can be encrypted
573 with either key and only the counterpart of that key can decrypt the
574 message. Asymmetric block ciphers can be used for both signing and
575 encrypting a message.
577 RSA is an asymmetric block cipher which is used in many applications,
578 including ssh and gpg. The RSA public key encryption and signatures
579 algorithms are defined in detail in RFC 2437. Paraslash relies on
580 RSA for authentication.
582 Stream ciphers XOR the input with a pseudo-random key stream to produce
583 the output. Decryption uses the same function calls as encryption.
584 Any block cipher can be turned into a stream cipher by generating the
585 pseudo-random key stream by encrypting successive values of a counter
588 AES, the advanced encryption standard, is a well-known symmetric block
589 cipher. Paraslash employs AES in counter mode as described above to
590 encrypt communications. Since a stream cipher key must not be used
591 twice, a random key is generated for every new connection.
593 Client-server authentication
594 ----------------------------
596 The authentication handshake between para_client and para_server goes
599 - para_client connects to para_server and sends an authentication
600 request for a user. It does so by connecting to TCP port 2990 of the
601 server host. This port is called the para_server _control port_.
603 - para_server accepts the connection and forks a child process which
604 handles the incoming request. The parent process keeps listening on the
605 control port while the child process (also called para_server below)
606 continues as follows.
608 - para_server loads the RSA public key of that user, fills a
609 fixed-length buffer with random bytes, encrypts that buffer using the
610 public key and sends the encrypted buffer to the client. The first
611 part of the buffer is the challenge which is used for authentication
612 while the second part is the session key.
614 - para_client receives the encrypted buffer and decrypts it with the
615 user's private key, thereby obtaining the challenge buffer and the
616 session key. It hashes the challenge buffer with a crytographic hash
617 function, sends the hash value back to para_server and stores the
618 session key for further use.
620 - para_server also computes the hash value of the challenge and compares
621 it against what was sent back by the client.
623 - If the two hashes do not match, the authentication has failed and
624 para_server closes the connection.
626 - Otherwise the user is considered authenticated and the client is
627 allowed to proceed by sending a command to be executed. From this
628 point on the communication is encrypted using the stream cipher with
629 the session key known to both peers.
631 paraslash relies on the quality of the pseudo-random bytes provided
632 by the crypto library (openssl or libgcrypt), on the security of
633 the implementation of the RSA and AES crypto routines and on the
634 infeasibility to invert the hash function.
636 Neither para_server or para_client create RSA keys on their
637 own. This has to be done once for each user as sketched in
638 [Quick start](#Quick.start) and discussed in more detail
639 [below](#The.user_list.file).
644 At startup para_server reads the user list file which contains one
645 line per user. The default location of the user list file may be
646 changed with the --user-list option.
648 There should be at least one user in this file. Each user must have
649 an RSA key pair. The public part of the key is needed by para_server
650 while the private key is needed by para_client. Each line of the
651 user list file must be of the form
653 user <username> <key> <perms>
655 where _username_ is an arbitrary string (usually the user's login
656 name), _key_ is the full path to that user's public RSA key, and
657 _perms_ is a comma-separated list of zero or more of the following
660 +---------------------------------------------------------+
661 | AFS_READ | read the contents of the databases |
662 +-----------+---------------------------------------------+
663 | AFS_WRITE | change database contents |
664 +-----------+---------------------------------------------+
665 | VSS_READ | obtain information about the current stream |
666 +-----------+---------------------------------------------+
667 | VSS_WRITE | change the current stream |
668 +---------------------------------------------------------+
670 The permission bits specify which commands the user is allowed to
671 execute. The output of
675 contains the permissions needed to execute the command.
677 It is possible to make para_server reread the user_list file by
678 executing the paraslash "hup" command or by sending SIGHUP to the
681 Connecting para_audiod
682 ----------------------
684 para_audiod listens on a Unix domain socket. Those sockets are
685 for local communication only, so only local users can connect to
686 para_audiod. The default is to let any user connect but this can be
687 restricted on platforms that support UNIX socket credentials which
688 allow para_audiod to obtain the Unix credentials of the connecting
691 Use para_audiod's --user-allow option to allow connections only for
692 a limited set of users.
694 =======================
695 The audio file selector
696 =======================
698 paraslash comes with a sophisticated audio file selector (AFS),
699 whose main task is to determine which file to stream next, based on
700 information on the audio files stored in a database. It communicates
701 also with para_client via the command handler whenever an AFS command
702 is executed, for example to answer a database query.
704 Besides the simple playlists, AFS supports audio file selection
705 based on _moods_ which act as a filter that limits the set of all
706 known audio files to those which satisfy certain criteria. It also
707 maintains tables containing images (e.g. album cover art) and lyrics
708 that can be associated with one or more audio files.
710 In this chapter we sketch the setup of the [AFS
711 process](#The.AFS.process) during server startup and proceed with the
712 description of the [layout](#Database.layout) of the various database
713 tables. The section on [playlists and moods](#Playlists.and.moods)
714 explains these two audio file selection mechanisms in detail
715 and contains practical examples. The way [file renames and content
716 changes](#File.renames.and.content.changes) are detected is discussed
717 briefly before the [Troubleshooting](#Troubleshooting) section
718 concludes the chapter.
723 On startup, para_server forks to create the AFS process which opens
724 the database tables. The AFS process accepts incoming connections
725 which arrive either on a pipe which is shared with para_server,
726 or on the local socket it is listening on. The setup is as follows.
728 .___________________. .______________.
730 | virtual streaming | | audio format |
731 | system | | handler |
732 |_________ _______| |_____ ______|
735 .-'""""`-. | | .-'""""`-.
737 |`-.____.-'| .__/ \________________/ \___. |`-.____.-'|
739 | file |----| AFS (audio file selector) |----| OSL |
740 | system | | process | | database |
741 | | |___________________________| | |
742 |. ' "" ` .| | |. ' "" ` .|
744 `-.____.-' | `-.____.-'
758 The virtual streaming system, which is part of the server process,
759 communicates with the AFS process via pipes and shared memory. When
760 the current audio file changes, it sends a notification through the
761 shared pipe. The AFS process queries the database to determine the
762 next audio file, opens it, verifies that it has not been changed since
763 it was added to the database and passes the open file descriptor back
764 to the virtual streaming system, along with audio file meta-data such
765 as file name, duration, audio format and so on. The virtual streaming
766 system then starts to stream the file.
768 The command handlers of all AFS server commands use the local socket
769 to query or update the database. For example, the command handler of
770 the add command sends the path of an audio file to the local socket.
771 The AFS process opens the file and tries to find an audio format
772 handler which recognizes the file. If all goes well, a new database
773 entry with metadata obtained from the audio format handler is added
776 Note that AFS employs
777 [libosl](http://people.tuebingen.mpg.de/maan/osl/), the object
778 storage layer library, as the database backend. This library offers
779 functionality similar to a relational database, but is much more
780 lightweight than a full featured database management system.
785 Metadata about the known audio files is stored in an OSL database. This
786 database consists of the following tables:
788 - The audio file table contains path, hash and metadata of each
791 - The "attributes" table maps each of the 64 possible attributes to a
794 - The "blob" tables store images, lyrics, moods, playlists. All of
797 - The "score" table describes the subset of admissible files for the
798 current playlist or mood.
800 All tables are described in more detail below.
802 <h3> The audio file table </h3>
804 This is the most important and usually also the largest table of the
805 AFS database. It contains the information needed to stream each audio
806 file. In particular the following data is stored for each audio file.
808 - The cryptographic hash value of the audio file contents. This is
809 computed once when the file is added to the database. Whenever AFS
810 selects this audio file for streaming the hash value is recomputed
811 and checked against the value stored in the database to detect
814 - The time when this audio file was last played.
816 - The number of times the file has been played so far.
818 - The attribute bitmask.
820 - The image id which describes the image associated with this audio
823 - The lyrics id which describes the lyrics associated with this
826 - The audio format id (MP3, OGG, ...).
828 - An amplification value that can be used by the amplification filter
829 to pre-amplify the decoded audio stream.
831 - The chunk table. It describes the location and the timing of the
832 building blocks of the audio file. This is used by para_server to
833 send chunks of the file at appropriate times.
835 - The duration of the audio file.
837 - Tag information contained in the audio file (ID3 tags, Vorbis
840 - The number of channels
842 - The encoding bitrate.
844 - The sampling frequency.
846 To add or refresh the data contained in the audio file table, the _add_
847 command is used. It takes the full path of either an audio file or a
848 directory. In the latter case, the directory is traversed recursively
849 and all files which are recognized as valid audio files are added to
852 <h3> The attribute table </h3>
854 The attribute table contains two columns, _name_ and _bitnum_. An
855 attribute is simply a name for a certain bit number in the attribute
856 bitmask of the audio file table.
858 Each of the 64 bits of the attribute bitmask can be set for each
859 audio file individually. Hence up to 64 different attributes may be
860 defined. For example, "pop", "rock", "blues", "jazz", "instrumental",
861 "german_lyrics", "speech", whatever. You are free to choose as
862 many attributes as you like and there are no naming restrictions
865 A new attribute "test" is created by
867 para_client addatt test
871 lists all available attributes. You can set the "test" attribute for
872 an audio file by executing
874 para_client setatt test+ /path/to/the/audio/file
876 Similarly, the "test" bit can be removed from an audio file with
878 para_client setatt test- /path/to/the/audio/file
880 Instead of a path you may use a shell wildcard pattern. The attribute
881 is applied to all audio files matching this pattern:
883 para_client setatt test+ '/test/directory/*'
887 para_client -- ls -l=v
889 gives you a verbose listing of your audio files also showing which
892 In case you wonder why the double-dash in the above command is needed:
893 It tells para_client to not interpret the options after the dashes. If
894 you find this annoying, just say
896 alias para='para_client --'
898 and be happy. In what follows we shall use this alias.
900 The "test" attribute can be dropped from the database with
909 for more information and a complete list of command line options to
912 <h3> Blob tables </h3>
914 The image, lyrics, moods and playlists tables are all blob tables.
915 Blob tables consist of three columns each: The identifier which is
916 a positive number that is auto-incremented, the name (an arbitrary
917 string) and the content (the blob).
919 All blob tables support the same set of actions: cat, ls, mv, rm
920 and add. Of course, _add_ is used for adding new blobs to the table
921 while the other actions have the same meaning as the corresponding
922 Unix commands. The paraslash commands to perform these actions are
923 constructed as the concatenation of the table name and the action. For
924 example addimg, catimg, lsimg, mvimg, rmimg are the commands that
925 manipulate or query the image table.
927 The add variant of these commands is special as these commands read
928 the blob contents from stdin. To add an image to the image table the
931 para addimg image_name < file.jpg
935 Note that the images and lyrics are not interpreted at all, and also
936 the playlist and the mood blobs are only investigated when the mood
937 or playlist is activated with the select command.
939 <h3> The score table </h3>
941 The score table describes those audio files which are admissible for
942 the current mood or playlist (see below). The table has two columns:
943 a pointer to a row of the audio file table and a score value.
945 Unlike all other tables of the database, the score table remains in
946 memory and is never stored on disk. It is initialized at startup and
947 recomputed when the select command loads a new mood or playlist.
949 When the audio file selector is asked to open the next audio file,
950 it picks the row with the highest score, opens the corresponding
951 file and passes the file descriptor to the virtual streaming system.
952 At this point the last_played and the num_played fields of the selected
953 file are updated and the score is recomputed.
958 Playlists and moods offer two different ways of specifying the set of
959 admissible files. A playlist in itself describes a set of admissible
960 files. A mood, in contrast, describes the set of admissible files in
961 terms of attributes and other type of information available in the
962 audio file table. As an example, a mood can define a filename pattern,
963 which is then matched against the names of audio files in the table.
967 Playlists are accommodated in the playlist table of the afs database,
968 using the aforementioned blob format for tables. A new playlist is
969 created with the addpl command by specifying the full (absolute)
970 paths of all desired audio files, separated by newlines. Example:
972 find /my/mp3/dir -name "*.mp3" | para addpl my_playlist
974 If _my_playlist_ already exists it is overwritten. To activate the
975 new playlist, execute
977 para select p/my_playlist
979 The audio file selector will assign scores to each entry of the list,
980 in descending order so that files will be selected in order. If a
981 file could not be opened for streaming, its entry is removed from
982 the score table (but not from the playlist).
986 A mood consists of a unique name and a definition. The definition
987 is an expression which describes which audio files are considered
988 admissible. At any time at most one mood can be active, meaning
989 that para_server will only stream files which are admissible for the
992 The expression may refer to attributes and other metadata stored in
993 the database. Expressions may be combined by means of logical and
994 arithmetical operators in a natural way. Moreover, string matching
995 based on regular expression or wildcard patterns is supported.
997 The set of admissible files is determined by applying the expression
998 to each audio file in turn. For a mood definition to be valid, its
999 expression must evaluate to a number, a string or a boolean value
1000 ("true" or "false"). For numbers, any value other than zero means the
1001 file is admissible. For strings, any non-empty string indicates an
1002 admissible file. For boolean values, true means admissible and false
1003 means not admissible. As a special case, the empty expression treats
1004 all files as admissible.
1006 <h3> Mood grammar </h3>
1008 Expressions are based on a context-free grammar which distinguishes
1009 between several types for syntactic units or groupings. The grammar
1010 defines a set of keywords which have a type and a corresponding
1011 semantic value, as shown in the following table.
1013 Keyword | Type | Semantic value
1014 :--------------------|--------:|:----------------------------------
1015 `path` | string | Full path of the current audio file
1016 `artist` | string | Content of the artist meta tag
1017 `title` | string | Content of the title meta tag
1018 `album` | string | Content of the album meta tag
1019 `comment` | string | Content of the somment meta tag
1020 `num_attributes_set` | integer | Number of attributes which are set
1021 `year` | integer | Content of the year meta tag [\*]
1022 `num_played` | integer | How many times the file has been streamed
1023 `image_id` | integer | The identifier of the (cover art) image
1024 `lyrics_id` | integer | The identifier of the lyrics blob
1025 `bitrate` | integer | The average bitrate
1026 `frequency` | integer | The output sample rate
1027 `channels` | integer | The number of channels
1028 `duration` | integer | The number of milliseconds
1029 `is_set("foo")` | boolean | True if attribute "foo" is set.
1031 [\*] For most audio formats, the year tag is stored as a string. It
1032 is converted to an integer by the mood parser. If the audio file
1033 has no year tag or the content of the year tag is not a number, the
1034 semantic value is zero. A special convention applies if the year tag
1035 is a one-digit or a two-digit number. In this case 1900 is added to
1038 Expressions may be grouped using parentheses, logical and
1039 arithmetical operators or string matching operators. The following
1040 table lists the available operators.
1047 `==` | Equal (can be applied to all types)
1048 `!=` | Not equal. Likewise
1050 `<=` | Less or equal
1051 `>=` | Greater or equal
1052 `+` | Arithmetical minus
1053 `-` | Binary/unary minus
1054 `*` | Multiplication
1056 `=~` | Regular expression match
1057 `=\|` | Filename match
1059 Besides integers, strings and booleans there is an additional type
1060 which describes regular expression or wildcard patterns. Patterns
1061 are not just strings because they also include a list of flags which
1062 modify matching behaviour.
1064 Regular expression patterns are of the form `/pattern/[flags]`. That
1065 is, the pattern is delimited by slashes, and is followed by zero or
1066 more characters, each specifying a flag according to the following
1069 Flag | POSIX name | Meaning
1070 :----|--------------:|--------
1071 `i` | `REG_ICASE` | Ignore case in match
1072 `n` | `REG_NEWLINE` | Treat newline as an ordinary character
1074 Note that only extended regular expression patterns are supported. See
1075 regex(3) for details.
1077 Wildcard patterns are similar, but the pattern must be delimited by
1078 `'|'` characters rather than slashes. For wildcard patterns different
1079 flags exist, as shown below.
1081 Flag | POSIX name | Meaning
1082 :----|-----------------------:|--------
1083 `n` | `FNM_NOESCAPE` | Treat backslash as an ordinary character
1084 `p` | `FNM_PATHNAME` | Match a slash only with a slash in pattern
1085 `P` | `FNM_PERIOD` | Leading period has to be matched exactly
1086 `l` | `FNM_LEADING_DIR` [\*] | Ignore "/\*" rest after successful matching
1087 `i` | `FNM_CASEFOLD` [\*] | Ignore case in match
1088 `e` | `FNM_EXTMATCH` [\*\*] | Enable extended pattern matching
1090 [\*] Not in POSIX, but both FreeBSD and NetBSD have it.
1092 [\*\*] GNU extension, silently ignored on non GNU systems.
1094 See fnmatch(3) for details.
1096 Mood definitions may contain arbitrary whitespace and comments.
1097 A comment is a word beginning with #. This word and all remaining
1098 characters of the line are ignored.
1100 <h3> Example moods </h3>
1102 * Files with no/invalid year tag: `year == 0`
1104 * Only oldies: `year != 0 && year < 1980`
1106 * Only 80's Rock or Metal: `(year >= 1980 && year < 1990) &&
1107 (is_set("rock") || is_set("metal"))`
1109 * Files with incomplete tags: `artist == "" || title == "" || album =
1110 "" || comment == "" || year == 0`
1112 * Files with no attributes defined so far: `num_attributes_set == 0`
1114 * Only newly added files: `num_played == 0`
1116 * Only poor quality files: `bitrate < 96`
1118 * Cope with different spellings of Motörhead: `artist =~ /mot(ö|oe{0,1})rhead/i`
1120 * The same with extended wildcard patterns: `artist =| |mot+(o\|oe\|ö)rhead|ie`
1122 <h3> Mood usage </h3>
1124 To create a new mood called "my_mood", write its definition into
1125 some temporary file, say "tmpfile", and add it to the mood table
1128 para addmood my_mood < tmpfile
1130 If the mood definition is really short, you may just pipe it to the
1131 client instead of using temporary files. Like this:
1133 echo "$MOOD_DEFINITION" | para addmood my_mood
1135 There is no need to keep the temporary file since you can always use
1136 the catmood command to get it back:
1138 para catmood my_mood
1140 A mood can be activated by executing
1142 para select m/my_mood
1144 Once active, the list of admissible files is shown by the ls command
1145 if the "-a" switch is given:
1149 File renames and content changes
1150 --------------------------------
1152 Since the audio file selector knows the hash of each audio file that
1153 has been added to the afs database, it recognizes if the content of
1154 a file has changed, e.g. because an ID3 tag was added or modified.
1155 Also, if a file has been renamed or moved to a different location,
1156 afs will detect that an entry with the same hash value already exists
1157 in the audio file table.
1159 In both cases it is enough to just re-add the new file. In the
1160 first case (file content changed), the audio table is updated, while
1161 metadata such as the num_played and last_played fields, as well as
1162 the attributes, remain unchanged. In the other case, when the file
1163 is moved or renamed, only the path information is updated, all other
1164 data remains as before.
1166 It is possible to change the behaviour of the add command by using the
1167 "-l" (lazy add) or the "-f" (force add) option.
1172 Use the debug loglevel (-l debug) to show debugging info. All paraslash
1173 executables have a brief online help which is displayed when -h is
1174 given. The --detailed-help option prints the full help text.
1176 If para_server crashed or was killed by SIGKILL (signal 9), it
1177 may refuse to start again because of "dirty osl tables". In this
1178 case you'll have to run the oslfsck program of libosl to fix your
1181 oslfsck -fd ~/.paraslash/afs_database-0.7
1183 However, make sure para_server isn't running before executing oslfsck.
1185 If you don't mind to recreate your database you can start
1186 from scratch by removing the entire database directory, i.e.
1188 rm -rf ~/.paraslash/afs_database-0.7
1190 Be aware that this removes all attribute definitions, all playlists
1191 and all mood definitions and requires to re-initialize the tables.
1193 Although oslfsck fixes inconsistencies in database tables it doesn't
1194 care about the table contents. To check for invalid table contents, use
1198 This prints out references to missing audio files as well as invalid
1199 playlists and mood definitions.
1201 Similarly, para_audiod refuses to start if its socket file exists, since
1202 this indicates that another instance of para_audiod is running. After
1203 a crash a stale socket file might remain and you must run
1209 =======================================
1210 Audio formats and audio format handlers
1211 =======================================
1216 The following audio formats are supported by paraslash:
1220 Mp3, MPEG-1 Audio Layer 3, is a common audio format for audio storage,
1221 designed as part of its MPEG-1 standard. An MP3 file is made up of
1222 multiple MP3 frames, which consist of a header and a data block. The
1223 size of an MP3 frame depends on the bit rate and on the number
1224 of channels. For a typical CD-audio file (sample rate of 44.1 kHz
1225 stereo), encoded with a bit rate of 128 kbit, an MP3 frame is about
1228 <h3> OGG/Vorbis </h3>
1230 OGG is a standardized audio container format, while Vorbis is an
1231 open source codec for lossy audio compression. Since Vorbis is most
1232 commonly made available via the OGG container format, it is often
1233 referred to as OGG/Vorbis. The OGG container format divides data into
1234 chunks called OGG pages. A typical OGG page is about 4KB large. The
1235 Vorbis codec creates variable-bitrate (VBR) data, where the bitrate
1236 may vary considerably.
1238 <h3> OGG/Speex </h3>
1240 Speex is an open-source speech codec that is based on CELP (Code
1241 Excited Linear Prediction) coding. It is designed for voice
1242 over IP applications, has modest complexity and a small memory
1243 footprint. Wideband and narrowband (telephone quality) speech are
1244 supported. As for Vorbis audio, Speex bit-streams are often stored
1245 in OGG files. As of 2012 this codec is considered obsolete since the
1246 Oppus codec, described below, surpasses its performance in all areas.
1250 Opus is a lossy audio compression format standardized through RFC
1251 6716 in 2012. It combines the speech-oriented SILK codec and the
1252 low-latency CELT (Constrained Energy Lapped Transform) codec. Like
1253 OGG/Vorbis and OGG/Speex, Opus data is usually encapsulated in OGG
1254 containers. All known software patents which cover Opus are licensed
1255 under royalty-free terms.
1259 Advanced Audio Coding (AAC) is a standardized, lossy compression
1260 and encoding scheme for digital audio which is the default audio
1261 format for Apple's iPhone, iPod, iTunes. Usually MPEG-4 is used as
1262 the container format and audio files encoded with AAC have the .m4a
1263 extension. A typical AAC frame is about 700 bytes large.
1267 Windows Media Audio (WMA) is an audio data compression technology
1268 developed by Microsoft. A WMA file is usually encapsulated in the
1269 Advanced Systems Format (ASF) container format, which also specifies
1270 how meta data about the file is to be encoded. The bit stream of WMA
1271 is composed of superframes, each containing one or more frames of
1272 2048 samples. For 16 bit stereo a WMA superframe is about 8K large.
1276 The Free Lossless Audio Codec (FLAC) compresses audio without quality
1277 loss. It gives better compression ratios than a general purpose
1278 compressor like zip or bzip2 because FLAC is designed specifically
1279 for audio. A FLAC-encoded file consists of frames of varying size, up
1280 to 16K. Each frame starts with a header that contains all information
1281 necessary to decode the frame.
1286 Unfortunately, each audio format has its own conventions how meta
1287 data is added as tags to the audio file.
1289 For MP3 files, ID3, version 1 and 2 are widely used. ID3 version 1
1290 is rather simple but also very limited as it supports only artist,
1291 title, album, year and comment tags. Each of these can only be at most
1292 32 characters long. ID3, version 2 is much more flexible but requires
1293 a separate library being installed for paraslash to support it.
1295 Ogg vorbis, ogg speex and flac files contain meta data as Vorbis
1296 comments, which are typically implemented as strings of the form
1297 "[TAG]=[VALUE]". Unlike ID3 version 1 tags, one may use whichever
1298 tags are appropriate for the content.
1300 AAC files usually use the MPEG-4 container format for storing meta
1301 data while WMA files wrap meta data as special objects within the
1302 ASF container format.
1304 paraslash only tracks the most common tags that are supported by
1305 all tag variants: artist, title, year, album, comment. When a file
1306 is added to the AFS database, the meta data of the file is extracted
1307 and stored in the audio file table.
1309 Chunks and chunk tables
1310 -----------------------
1312 paraslash uses the word "chunk" as common term for the building blocks
1313 of an audio file. For MP3 files, a chunk is the same as an MP3 frame,
1314 while for OGG files a chunk is an OGG page, etc. Therefore the chunk
1315 size varies considerably between audio formats, from a few hundred
1316 bytes (MP3) up to 16K (FLAC).
1318 The chunk table contains the offsets within the audio file that
1319 correspond to the chunk boundaries of the file. Like the meta data,
1320 the chunk table is computed and stored in the database whenever an
1321 audio file is added.
1323 The paraslash senders (see below) always send complete chunks. The
1324 granularity for seeking is therefore determined by the chunk size.
1326 Audio format handlers
1327 ---------------------
1329 For each audio format paraslash contains an audio format handler whose
1330 first task is to tell whether a given file is a valid audio file of
1331 this type. If so, the audio file handler extracts some technical data
1332 (duration, sampling rate, number of channels etc.), computes the
1333 chunk table and reads the meta data.
1335 The audio format handler code is linked into para_server and executed
1336 via the _add_ command. The same code is also available as a stand-alone
1337 tool, para_afh, which prints the technical data, the chunk table
1338 and the meta data of a file. Moreover, all audio format handlers are
1339 combined in the afh receiver which is part of para_recv and para_play.
1345 Paraslash uses different network connections for control and data.
1346 para_client communicates with para_server over a dedicated TCP control
1347 connection. To transport audio data, separate data connections are
1348 used. For these data connections, a variety of transports (UDP, DCCP,
1349 HTTP) can be chosen.
1351 The chapter starts with the [control
1352 service](#The.paraslash.control.service), followed by a section
1353 on the various [streaming protocols](#Streaming.protocols)
1354 in which the data connections are described. The way
1355 audio file headers are embedded into the stream is discussed
1356 [briefly](#Streams.with.headers.and.headerless.streams) before the
1357 [example section](#Networking.examples) which illustrates typical
1358 commands for real-life scenarios.
1360 Both IPv4 and IPv6 are supported.
1362 The paraslash control service
1363 -----------------------------
1365 para_server is controlled at runtime via the paraslash control
1366 connection. This connection is used for server commands (play, stop,
1367 ...) as well as for afs commands (ls, select, ...).
1369 The server listens on a TCP port and accepts connections from clients
1370 that connect the open port. Each connection causes the server to fork
1371 off a client process which inherits the connection and deals with that
1372 client only. In this classical accept/fork approach the server process
1373 is unaffected if the child dies or goes crazy for whatever reason. In
1374 fact, the child process can not change address space of server process.
1376 The section on [client-server
1377 authentication](#Client-server.authentication) above described the
1378 early connection establishment from the crypto point of view. Here
1379 it is described what happens after the connection (including crypto
1380 setup) has been established. There are four processes involved during
1381 command dispatch as sketched in the following diagram.
1383 server_host client_host
1384 ~~~~~~~~~~~ ~~~~~~~~~~~
1386 +-----------+ connect +-----------+
1387 |para_server|<------------------------------ |para_client|
1388 +-----------+ +-----------+
1391 +----------> |AFS| |
1395 | | connect (cookie) |
1398 | fork +-----+ inherited connection |
1399 +---------->|child|<--------------------------+
1402 Note that the child process is not a child of the afs process,
1403 so communication of these two processes has to happen via local
1404 sockets. In order to avoid abuse of the local socket by unrelated
1405 processes, a magic cookie is created once at server startup time just
1406 before the server process forks off the AFS process. This cookie is
1407 known to the server, AFS and the child, but not to unrelated processes.
1409 There are two different kinds of commands: First there are commands
1410 that cause the server to respond with some answer such as the list
1411 of all audio files. All but the addblob commands (addimg, addlyr,
1412 addpl, addmood) are of this kind. The addblob commands add contents
1413 to the database, so they need to transfer data the other way round,
1414 from the client to the server.
1416 There is no knowledge about the server commands built into para_client,
1417 so it does not know about addblob commands. Instead, the server sends
1418 a special "awaiting data" packet for these commands. If the client
1419 receives this packet, it sends STDIN to the server, otherwise it
1420 dumps data from the server to STDOUT.
1425 A network (audio) stream usually consists of one streaming source,
1426 the _sender_, and one or more _receivers_ which read data over the
1427 network from the streaming source.
1429 Senders are thus part of para_server while receivers are part of
1430 para_audiod. Moreover, there is the stand-alone tool para_recv which
1431 can be used to manually download a stream, either from para_server
1432 or from a web-based audio streaming service.
1434 The following three streaming protocols are supported by paraslash:
1436 - HTTP. Recommended for public streams that can be played by any
1437 player like mpg123, xmms, itunes, winamp, etc. The HTTP sender is
1438 supported on all operating systems and all platforms.
1440 - DCCP. Recommended for LAN streaming. DCCP is currently available
1443 - UDP. Recommended for multicast LAN streaming.
1445 See the Appendix on [network protocols](#Network.protocols)
1446 for brief descriptions of the various protocols relevant for network
1447 audio streaming with paraslash.
1449 It is possible to activate more than one sender simultaneously.
1450 Senders can be controlled at run time and via config file and command
1453 Note that audio connections are _not_ encrypted. Transport or Internet
1454 layer encryption should be used if encrypted data connections are
1457 Since DCCP and TCP are both connection-oriented protocols, connection
1458 establishment/teardown and access control are very similar between
1459 these two streaming protocols. UDP is the most lightweight option,
1460 since in contrast to TCP/DCCP it is connectionless. It is also the
1461 only protocol supporting IP multicast.
1463 The HTTP and the DCCP sender listen on a (TCP/DCCP) port waiting for
1464 clients to connect and establish a connection via some protocol-defined
1465 handshake mechanism. Both senders maintain two linked lists each:
1466 The list of all clients which are currently connected, and the list
1467 of access control entries which determines who is allowed to connect.
1468 IP-based access control may be configured through config file and
1469 command line options and via the "allow" and "deny" sender subcommands.
1471 Upon receiving a GET request from the client, the HTTP sender sends
1472 back a status line and a message. The body of this message is the
1473 audio stream. This is common practice and is supported by many popular
1474 clients which can thus be used to play a stream offered by para_server.
1475 For DCCP things are a bit simpler: No messages are exchanged between
1476 the receiver and sender. The client simply connects and the sender
1479 DCCP is an experimental protocol which offers a number of new features
1480 not available for TCP. Both ends can negotiate these features using
1481 a built-in negotiation mechanism. In contrast to TCP/HTTP, DCCP is
1482 datagram-based (no retransmissions) and thus should not be used over
1483 lossy media (e.g. WiFi networks). One useful feature offered by DCCP
1484 is access to a variety of different congestion-control mechanisms
1485 called CCIDs. Two different CCIDs are available per default on Linux:
1488 - _CCID 2_. A Congestion Control mechanism similar to that of TCP. The
1489 sender maintains a congestion window and halves this window in response
1493 - _CCID-3_. Designed to be fair when competing for bandwidth.
1494 It has lower variation of throughput over time compared with TCP,
1495 which makes it suitable for streaming media.
1497 Unlike the HTTP and DCCP senders, the UDP sender maintains only a
1498 single list, the _target list_. This list describes the set of clients
1499 to which the stream is sent. There is no list for access control and
1500 no "allow" and "deny" commands for the UDP sender. Instead, the "add"
1501 and "delete" commands can be used to modify the target list.
1503 Since both UDP and DCCP offer an unreliable datagram-based transport,
1504 additional measures are necessary to guard against disruptions over
1505 networks that are lossy or which may be subject to interference (as
1506 is for instance the case with WiFi). Paraslash uses FEC (Forward
1507 Error Correction) to guard against packet losses and reordering. The
1508 stream is FEC-encoded before it is sent through the UDP socket and
1509 must be decoded accordingly on the receiver side.
1511 The packet size and the amount of redundancy introduced by FEC can
1512 be configured via the FEC parameters which are dictated by server
1513 and may also be configured through the "sender" command. The FEC
1514 parameters are encoded in the header of each network packet, so no
1515 configuration is necessary on the receiver side. See the section on
1516 [FEC](#Forward.error.correction) below.
1518 Streams with headers and headerless streams
1519 -------------------------------------------
1521 For OGG/Vorbis, OGG/Speex and wma streams, some of the information
1522 needed to decode the stream is only contained in the audio file
1523 header of the container format but not in each data chunk. Clients
1524 must be able to obtain this information in case streaming starts in
1525 the middle of the file or if para_audiod is started while para_server
1526 is already sending a stream.
1528 This is accomplished in different ways, depending on the streaming
1529 protocol. For connection-oriented streams (HTTP, DCCP) the audio file
1530 header is sent prior to audio file data. This technique however does
1531 not work for the connectionless UDP transport. Hence the audio file
1532 header is periodically being embedded into the UDP audio data stream.
1533 By default, the header is resent after five seconds. The receiver has
1534 to wait until the next header arrives before it can start decoding
1540 The "si" (server info) command lists some information about the
1541 currently running server process.
1543 -> Show PIDs, number of connected clients, uptime, and more:
1547 By default para_server activates both the HTTP and th DCCP sender on
1548 startup. This can be changed via command line options or para_server's
1551 -> List config file options for senders:
1555 -> Receive a DCCP stream using CCID2 and write the output into a file:
1557 host=foo.org; ccid=2; filename=bar
1558 para_recv --receiver "dccp --host $host --ccid $ccid" > $filename
1560 Note the quotes around the arguments for the dccp receiver. Each
1561 receiver has its own set of command line options and its own command
1562 line parser, so arguments for the dccp receiver must be protected
1563 from being interpreted by para_recv.
1565 -> Receive FEC-encoded multicast stream and write the output into a file:
1568 para_recv -r udp > $filename
1570 -> Receive this (FEC-encoded) unicast stream:
1573 para_recv -r 'udp -i 0.0.0.0' > $filename
1575 -> Create a minimal config for para_audiod for HTTP streams:
1577 c=$HOME/.paraslash/audiod.conf.min; s=server.foo.com
1578 echo receiver \".:http -i $s\" > $c
1579 para_audiod --config $c
1585 A paraslash filter is a module which transforms an input stream into
1586 an output stream. Filters are included in the para_audiod executable
1587 and in the stand-alone tool para_filter which usually contains the
1590 While para_filter reads its input stream from STDIN and writes
1591 the output to STDOUT, the filter modules of para_audiod are always
1592 connected to a receiver which produces the input stream and a writer
1593 which absorbs the output stream.
1595 Some filters depend on a specific library and are not compiled in
1596 if this library was not found at compile time. To see the list of
1597 supported filters, run para_filter and para_audiod with the --help
1598 option. The output looks similar to the following:
1601 compress wav amp fecdec wmadec prebuffer oggdec aacdec mp3dec
1603 Out of these filter modules, a chain of filters can be constructed,
1604 much in the way Unix pipes can be chained, and analogous to the use
1605 of modules in gstreamer: The output of the first filter becomes the
1606 input of the second filter. There is no limitation on the number of
1607 filters and the same filter may occur more than once.
1609 Like receivers, each filter has its own command line options which
1610 must be quoted to protect them from the command line options of
1611 the driving application (para_audiod or para_filter). Example:
1613 para_filter -f 'mp3dec --ignore-crc' -f 'compress --damp 1'
1615 For para_audiod, each audio format has its own set of filters. The
1616 name of the audio format for which the filter should be applied can
1617 be used as the prefix for the filter option. Example:
1619 para_audiod -f 'mp3:prebuffer --duration 300'
1621 The "mp3" prefix above is actually interpreted as a POSIX extended
1622 regular expression. Therefore
1624 para_audiod -f '.:prebuffer --duration 300'
1626 activates the prebuffer filter for all supported audio formats (because
1627 "." matches all audio formats) while
1629 para_audiod -f 'wma|ogg:prebuffer --duration 300'
1631 activates it only for wma and ogg streams.
1636 For each supported audio format there is a corresponding filter
1637 which decodes audio data in this format to 16 bit PCM data which
1638 can be directly sent to the sound device or any other software that
1639 operates on undecoded PCM data (visualizers, equalizers etc.). Such
1640 filters are called _decoders_ in general, and xxxdec is the name of
1641 the paraslash decoder for the audio format xxx. For example, the mp3
1642 decoder is called mp3dec.
1644 Note that the output of the decoder is about 10 times larger than
1645 its input. This means that filters that operate on the decoded audio
1646 stream have to deal with much more data than filters that transform
1647 the audio stream before it is fed to the decoder.
1649 Paraslash relies on external libraries for most decoders, so these
1650 libraries must be installed for the decoder to be included in the
1651 executables. For example, the mp3dec filter depends on the mad library.
1653 Forward error correction
1654 ------------------------
1656 As already mentioned [earlier](#Streaming.protocols), paraslash
1657 uses forward error correction (FEC) for the unreliable UDP and
1658 DCCP transports. FEC is a technique which was invented already in
1659 1960 by Reed and Solomon and which is widely used for the parity
1660 calculations of storage devices (RAID arrays). It is based on the
1661 algebraic concept of finite fields, today called Galois fields, in
1662 honour of the mathematician Galois (1811-1832). The FEC implementation
1663 of paraslash is based on code by Luigi Rizzo.
1665 Although the details require a sound knowledge of the underlying
1666 mathematics, the basic idea is not hard to understand: For positive
1667 integers k and n with k < n it is possible to compute for any k given
1668 data bytes d_1, ..., d_k the corresponding r := n -k parity bytes p_1,
1669 ..., p_r such that all data bytes can be reconstructed from *any*
1672 {d_1, ..., d_k, p_1, ..., p_r}.
1674 FEC-encoding for unreliable network transports boils down to slicing
1675 the audio stream into groups of k suitably sized pieces called _slices_
1676 and computing the r corresponding parity slices. This step is performed
1677 in para_server which then sends both the data and the parity slices
1678 over the unreliable network connection. If the client was able
1679 to receive at least k of the n = k + r slices, it can reconstruct
1680 (FEC-decode) the original audio stream.
1682 From these observations it is clear that there are three different
1683 FEC parameters: The slice size, the number of data slices k, and the
1684 total number of slices n. It is crucial to choose the slice size
1685 such that no fragmentation of network packets takes place because
1686 FEC only guards against losses and reordering but fails if slices are
1689 FEC decoding in paralash is performed through the fecdec filter which
1690 usually is the first filter (there can be other filters before fecdec
1691 if these do not alter the audio stream).
1693 Volume adjustment (amp and compress)
1694 ------------------------------------
1696 The amp and the compress filter both adjust the volume of the audio
1697 stream. These filters operate on uncompressed audio samples. Hence
1698 they are usually placed directly after the decoding filter. Each
1699 sample is multiplied with a scaling factor (>= 1) which makes amp
1700 and compress quite expensive in terms of computing power.
1704 The amp filter amplifies the audio stream by a fixed scaling factor
1705 that must be known in advance. For para_audiod this factor is derived
1706 from the amplification field of the audio file's entry in the audio
1707 file table while para_filter uses the value given at the command line.
1709 The optimal scaling factor F for an audio file is the largest real
1710 number F >= 1 such that after multiplication with F all samples still
1711 fit into the sample interval [-32768, 32767]. One can use para_filter
1712 in combination with the sox utility to compute F:
1714 para_filter -f mp3dec -f wav < file.mp3 | sox -t wav - -e stat -v
1716 The amplification value V which is stored in the audio file table,
1717 however, is an integer between 0 and 255 which is connected to F
1722 To store V in the audio file table, the command
1724 para_client -- touch -a=V file.mp3
1726 is used. The reader is encouraged to write a script that performs
1727 these computations :)
1731 Unlike the amplification filter, the compress filter adjusts the volume
1732 of the audio stream dynamically without prior knowledge about the peak
1733 value. It maintains the maximal volume of the last n samples of the
1734 audio stream and computes a suitable amplification factor based on that
1735 value and the various configuration options. It tries to chose this
1736 factor such that the adjusted volume meets the desired target level.
1738 Note that it makes sense to combine amp and compress.
1740 Misc filters (wav and prebuffer)
1741 --------------------------------
1743 These filters are rather simple and do not modify the audio stream at
1744 all. The wav filter is only useful with para_filter and in connection
1745 with a decoder. It asks the decoder for the number of channels and the
1746 sample rate of the stream and adds a Microsoft wave header containing
1747 this information at the beginning. This allows writing wav files
1748 rather than raw PCM files (which do not contain any information about
1749 the number of channels and the sample rate).
1751 The prebuffer filter simply delays the output until the given time has
1752 passed (starting from the time the first byte was available in its
1753 input queue) or until the given amount of data has accumulated. It
1754 is mainly useful for para_audiod if the standard parameters result
1755 in buffer underruns.
1757 Both filters require almost no additional computing time, even when
1758 operating on uncompressed audio streams, since data buffers are simply
1759 "pushed down" rather than copied.
1765 Once an audio stream has been received and decoded to PCM format,
1766 it can be sent to a sound device for playback. This part is performed
1767 by paraslash _writers_ which are described in this chapter.
1772 A paraslash writer acts as a data sink that consumes but does not
1773 produce audio data. Paraslash writers operate on the client side and
1774 are contained in para_audiod and in the stand-alone tool para_write.
1776 The para_write program reads uncompressed audio data from STDIN. If
1777 this data starts with a wav header, sample rate, sample format and
1778 channel count are read from the header. Otherwise CD audio (44.1KHz
1779 16 bit little endian, stereo) is assumed but this can be overridden
1780 by command line options. para_audiod, on the other hand, obtains
1781 the sample rate and the number of channels from the decoder.
1783 Like receivers and filters, each writer has an individual set of
1784 command line options, and for para_audiod writers can be configured
1785 per audio format separately. It is possible to activate more than
1786 one writer for the same stream simultaneously.
1791 Unfortunately, the various flavours of Unix on which paraslash
1792 runs on have different APIs for opening a sound device and starting
1793 playback. Hence for each such API there is a paraslash writer that
1794 can play the audio stream via this API.
1796 - *ALSA*. The _Advanced Linux Sound Architecture_ is only available on
1797 Linux systems. Although there are several mid-layer APIs in use by
1798 the various Linux distributions (ESD, Jack, PulseAudio), paraslash
1799 currently supports only the low-level ALSA API which is not supposed
1800 to be change. ALSA is very feature-rich, in particular it supports
1801 software mixing via its DMIX plugin. ALSA is the default writer on
1804 - *OSS*. The _Open Sound System_ is the only API on \*BSD Unixes and
1805 is also available on Linux systems, usually provided by ALSA as an
1806 emulation for backwards compatibility. This API is rather simple but
1807 also limited. For example only one application can open the device
1808 at any time. The OSS writer is activated by default on BSD Systems.
1810 - *FILE*. The file writer allows capturing the audio stream and
1811 writing the PCM data to a file on the file system rather than playing
1812 it through a sound device. It is supported on all platforms and is
1815 - *AO*. _Libao_ is a cross-platform audio library which supports a wide
1816 variety of platforms including PulseAudio (gnome), ESD (Enlightened
1817 Sound Daemon), AIX, Solaris and IRIX. The ao writer plays audio
1818 through an output plugin of libao.
1823 -> Use the OSS writer to play a wav file:
1825 para_write --writer oss < file.wav
1827 -> Enable ALSA software mixing for mp3 streams:
1829 para_audiod --writer 'mp3:alsa -d plug:swmix'
1836 para_gui executes an arbitrary command which is supposed to print
1837 status information to STDOUT. It then displays this information in
1838 a curses window. By default the command
1840 para_audioc -- stat -p
1842 is executed, but this can be customized via the --stat-cmd option. In
1843 particular it possible to use
1845 para_client -- stat -p
1847 to make para_gui work on systems on which para_audiod is not running.
1852 It is possible to bind keys to arbitrary commands via custom
1853 key-bindings. Besides the internal keys which can not be changed (help,
1854 quit, loglevel, version...), the following flavours of key-bindings
1857 - external: Shutdown curses before launching the given command.
1858 Useful for starting other ncurses programs from within para_gui,
1859 e.g. aumix or dialog scripts. Or, use the mbox output format to write
1860 a mailbox containing one mail for each (admissible) file the audio
1861 file selector knows about. Then start mutt from within para_gui to
1862 browse your collection!
1864 - display: Launch the command and display its stdout in para_gui's
1867 - para: Like display, but start "para_client <specified command>"
1868 instead of "<specified command>".
1870 The general form of a key binding is
1874 which maps key k to command c using mode m. Mode may be x, d or p
1875 for external, display and paraslash commands, respectively.
1880 Currently there are only two themes for para_gui. It is easy, however,
1881 to add more themes. To create a new theme one has to define the
1882 position, color and geometry for for each status item that should be
1883 shown by this theme. See gui_theme.c for examples.
1885 The "." and "," keys are used to switch between themes.
1890 -> Show server info:
1894 -> Jump to the middle of the current audio file by pressing F5:
1896 key_map "<F5>:p:jmp 50"
1898 -> vi-like bindings for jumping around:
1901 key_map "h:p:ff 10-"
1903 key_map "b:p:ff 60-"
1905 -> Print the current date and time:
1909 -> Call other curses programs:
1912 key_map "!:x:/bin/bash"
1913 key_map "^E:x:/bin/sh -c 'vi ~/.paraslash/gui.conf'"
1922 Paraslash is an open source project and contributions are
1923 welcome. Here's a list of things you can do to help the project:
1925 - Report problems with building, installing or running the software.
1926 In particular, test the experimental git branches ("next" and "pu").
1927 This helps to identify and fix problems before the code gets merged
1928 and thus keeps the master branch as stable as possible.
1929 - Proofread the documentation (manual, web pages, man pages, source
1930 code documentation) and point out unclear or poorly written parts. If
1931 you are a native English speaker you will easily find a lot of text
1932 that could be improved.
1933 - Run analysis tools (coverity, afl, sparse, etc.) and report issues
1934 found by those tools.
1935 - Suggest new features you would like to see implemented.
1936 - Compile and test on your favorite architecture or operating
1937 system. The code is tested only on a limited set of systems, so you
1938 will probably encounter problems when building on different systems.
1939 - Post about paraslash on your blog or on social networks.
1940 - Build and maintain Debian/RPM packages for your favorite distribution.
1942 Note that there is no mailing list, no bug tracker and no discussion
1943 forum for paraslash. If you'd like to contribute, or have questions
1944 about contributing, send email to Andre Noll <maan@tuebingen.mpg.de>.
1945 New releases are announced by email. If you would like to receive
1946 these announcements, contact the author through the above address.
1951 In order to compile the sources from the git repository (rather than
1952 from tar balls) and for contributing non-trivial changes to the
1953 paraslash project, some additional tools should be installed on a
1956 - [git](http://git.or.cz/). As described in more detail
1957 [below](#Git.branches), the git source code management tool is used for
1958 paraslash development. It is necessary for cloning the git repository
1959 and for getting updates.
1961 - [autoconf](ftp://ftp.gnu.org/pub/gnu/autoconf/) GNU autoconf creates
1962 the configure file which is shipped in the tarballs but has to be
1963 generated when compiling from git.
1965 - [discount](http://www.pell.portland.or.us/~orc/Code/discount/). The
1966 HTML version of this manual and some of the paraslash web pages are
1967 written in the Markdown markup language and are translated into html
1968 with the converter of the *Discount* package.
1970 - [doxygen](http://www.stack.nl/~dimitri/doxygen/). The documentation
1971 of paraslash's C sources uses the doxygen documentation system. The
1972 conventions for documenting the source code is described in the
1973 [Doxygen section](#Doxygen).
1975 - [global](ftp://ftp.gnu.org/pub/gnu/global). This is used to generate
1976 browsable HTML from the C sources. It is needed by doxygen.
1981 Paraslash has been developed using the git source code management
1982 tool since 2006. Development is organized roughly in the same spirit
1983 as the git development itself, as described below.
1985 The following text passage is based on "A note from the maintainer",
1986 written by Junio C Hamano, the maintainer of git.
1988 There are four branches in the paraslash repository that track the
1989 source tree: "master", "maint", "next", and "pu".
1991 The "master" branch is meant to contain what is well tested and
1992 ready to be used in a production setting. There could occasionally be
1993 minor breakages or brown paper bag bugs but they are not expected to
1994 be anything major, and more importantly quickly and easily fixable.
1995 Every now and then, a "feature release" is cut from the tip of this
1996 branch, named with three dotted decimal digits, like 0.4.2.
1998 Whenever changes are about to be included that will eventually lead to
1999 a new major release (e.g. 0.5.0), a "maint" branch is forked off from
2000 "master" at that point. Obvious, safe and urgent fixes after the major
2001 release are applied to this branch and maintenance releases are cut
2002 from it. New features never go to this branch. This branch is also
2003 merged into "master" to propagate the fixes forward.
2005 A trivial and safe enhancement goes directly on top of "master".
2006 New development does not usually happen on "master", however.
2007 Instead, a separate topic branch is forked from the tip of "master",
2008 and it first is tested in isolation; Usually there are a handful such
2009 topic branches that are running ahead of "master". The tip of these
2010 branches is not published in the public repository to keep the number
2011 of branches that downstream developers need to worry about low.
2013 The quality of topic branches varies widely. Some of them start out as
2014 "good idea but obviously is broken in some areas" and then with some
2015 more work become "more or less done and can now be tested by wider
2016 audience". Luckily, most of them start out in the latter, better shape.
2018 The "next" branch is to merge and test topic branches in the latter
2019 category. In general, this branch always contains the tip of "master".
2020 It might not be quite rock-solid production ready, but is expected to
2021 work more or less without major breakage. The maintainer usually uses
2022 the "next" version of paraslash for his own pleasure, so it cannot
2023 be _that_ broken. The "next" branch is where new and exciting things
2026 The two branches "master" and "maint" are never rewound, and "next"
2027 usually will not be either (this automatically means the topics that
2028 have been merged into "next" are usually not rebased, and you can find
2029 the tip of topic branches you are interested in from the output of
2030 "git log next"). You should be able to safely build on top of them.
2032 However, at times "next" will be rebuilt from the tip of "master" to
2033 get rid of merge commits that will never be in "master". The commit
2034 that replaces "next" will usually have the identical tree, but it
2035 will have different ancestry from the tip of "master".
2037 The "pu" (proposed updates) branch bundles the remainder of the
2038 topic branches. The "pu" branch, and topic branches that are only in
2039 "pu", are subject to rebasing in general. By the above definition
2040 of how "next" works, you can tell that this branch will contain quite
2041 experimental and obviously broken stuff.
2043 When a topic that was in "pu" proves to be in testable shape, it
2044 graduates to "next". This is done with
2047 git merge that-topic-branch
2049 Sometimes, an idea that looked promising turns out to be not so good
2050 and the topic can be dropped from "pu" in such a case.
2052 A topic that is in "next" is expected to be polished to perfection
2053 before it is merged to "master". Similar to the above, this is
2057 git merge that-topic-branch
2058 git branch -d that-topic-branch
2060 Note that being in "next" is not a guarantee to appear in the next
2061 release (being in "master" is such a guarantee, unless it is later
2062 found seriously broken and reverted), nor even in any future release.
2067 The preferred coding style for paraslash coincides more or less
2068 with the style of the Linux kernel. So rather than repeating what is
2069 written [there](https://www.kernel.org/doc/Documentation/process/coding-style.rst),
2070 here are the most important points.
2072 - Burn the GNU coding standards.
2073 - Never use spaces for indentation.
2074 - Tabs are 8 characters, and thus indentations are also 8 characters.
2075 - Don't put multiple assignments on a single line.
2076 - Avoid tricky expressions.
2077 - Don't leave whitespace at the end of lines.
2078 - The limit on the length of lines is 80 columns.
2079 - Use K&R style for placing braces and spaces:
2085 - Use a space after (most) keywords.
2086 - Do not add spaces around (inside) parenthesized expressions.
2087 - Use one space around (on each side of) most binary and ternary operators.
2088 - Do not use cute names like ThisVariableIsATemporaryCounter, call it tmp.
2089 - Mixed-case names are frowned upon.
2090 - Descriptive names for global variables are a must.
2092 - Functions should be short and sweet, and do just one thing.
2093 - The number of local variables shouldn't exceed 10.
2094 - Gotos are fine if they improve readability and reduce nesting.
2095 - Don't use C99-style "// ..." comments.
2096 - Names of macros defining constants and labels in enums are capitalized.
2097 - Enums are preferred when defining several related constants.
2098 - Always use the paraslash wrappers for allocating memory.
2099 - If the name of a function is an action or an imperative.
2100 command, the function should return an error-code integer
2101 (<0 means error, >=0 means success). If the name is a
2102 predicate, the function should return a "succeeded" boolean.
2107 Doxygen is a documentation system for various programming
2108 languages. The API reference on the paraslash web page is generated
2111 It is more illustrative to look at the source code for examples than
2112 to describe the conventions in this manual, so we only describe which
2113 parts of the code need doxygen comments, but leave out details on
2114 documentation conventions.
2116 As a rule, only the public part of the C source is documented with
2117 Doxygen. This includes structures, defines and enumerations in header
2118 files as well as public (non-static) C functions. These should be
2119 documented completely. For example, each parameter and the return
2120 value of a public function should get a descriptive doxygen comment.
2122 No doxygen comments are necessary for static functions and for
2123 structures and enumerations in C files (which are used only within
2124 this file). This does not mean, however, that those entities need
2125 no documentation at all. Instead, common sense should be applied to
2126 document what is not obvious from reading the code.
2137 The _Internet Protocol_ is the primary networking protocol used for
2138 the Internet. All protocols described below use IP as the underlying
2139 layer. Both the prevalent IPv4 and the next-generation IPv6 variant
2140 are being deployed actively worldwide.
2142 <h3> Connection-oriented and connectionless protocols </h3>
2144 Connectionless protocols differ from connection-oriented ones in
2145 that state associated with the sending/receiving endpoints is treated
2146 implicitly. Connectionless protocols maintain no internal knowledge
2147 about the state of the connection. Hence they are not capable of
2148 reacting to state changes, such as sudden loss or congestion on the
2149 connection medium. Connection-oriented protocols, in contrast, make
2150 this knowledge explicit. The connection is established only after
2151 a bidirectional handshake which requires both endpoints to agree
2152 on the state of the connection, and may also involve negotiating
2153 specific parameters for the particular connection. Maintaining an
2154 up-to-date internal state of the connection also in general means
2155 that the sending endpoints perform congestion control, adapting to
2156 qualitative changes of the connection medium.
2158 <h3> Reliability </h3>
2160 In IP networking, packets can be lost, duplicated, or delivered
2161 out of order, and different network protocols handle these
2162 problems in different ways. We call a transport-layer protocol
2163 _reliable_, if it turns the unreliable IP delivery into an ordered,
2164 duplicate- and loss-free delivery of packets. Sequence numbers
2165 are used to discard duplicates and re-arrange packets delivered
2166 out-of-order. Retransmission is used to guarantee loss-free
2167 delivery. Unreliable protocols, in contrast, do not guarantee ordering
2170 <h3> Classification </h3>
2172 With these definitions the protocols which are used by paraslash for
2173 steaming audio data may be classified as follows.
2175 - HTTP/TCP: connection-oriented, reliable,
2176 - UDP: connectionless, unreliable,
2177 - DCCP: connection-oriented, unreliable.
2179 Below we give a short descriptions of these protocols.
2183 The _Transmission Control Protocol_ provides reliable, ordered delivery
2184 of a stream and a classic window-based congestion control. In contrast
2185 to UDP and DCCP (see below), TCP does not have record-oriented or
2186 datagram-based syntax, i.e. it provides a stream which is unaware
2187 and independent of any record (packet) boundaries. TCP is used
2188 extensively by many application layers. Besides HTTP (the Hypertext
2189 Transfer Protocol), also FTP (the File Transfer protocol), SMTP (Simple
2190 Mail Transfer Protocol), SSH (Secure Shell) all sit on top of TCP.
2194 The _User Datagram Protocol_ is the simplest transport-layer protocol,
2195 built as a thin layer directly on top of IP. For this reason, it offers
2196 the same best-effort service as IP itself, i.e. there is no detection
2197 of duplicate or reordered packets. Being a connectionless protocol,
2198 only minimal internal state about the connection is maintained, which
2199 means that there is no protection against packet loss or network
2200 congestion. Error checking and correction (if at all) are performed
2205 The _Datagram Congestion Control Protocol_ combines the
2206 connection-oriented state maintenance known from TCP with the
2207 unreliable, datagram-based transport of UDP. This means that it
2208 is capable of reacting to changes in the connection by performing
2209 congestion control, offering multiple alternative approaches. But it
2210 is bound to datagram boundaries (the maximum packet size supported
2211 by a medium), and like UDP it lacks retransmission to protect
2212 against loss. Due to the use of sequence numbers, it is however
2213 able to react to loss (interpreted as a congestion indication) and
2214 to ignore out-of-order and duplicate packets. Unlike TCP it allows
2215 to negotiate specific, binding features for a connection, such as
2216 the choice of congestion control: classic, window-based congestion
2217 control known from TCP is available as CCID-2, rate-based, "smooth"
2218 congestion control is offered as CCID-3.
2222 The _Hypertext Transfer Protocol_ is an application layer protocol
2223 on top of TCP. It is spoken by web servers and is most often used
2224 for web services. However, as can be seen by the many Internet radio
2225 stations and YouTube/Flash videos, http is by far not limited to the
2226 delivery of web pages only. Being a simple request/response based
2227 protocol, the semantics of the protocol also allow the delivery of
2228 multimedia content, such as audio over http.
2230 <h3> Multicast </h3>
2232 IP multicast is not really a protocol but a technique for one-to-many
2233 communication over an IP network. The challenge is to deliver
2234 information to a group of destinations simultaneously using the
2235 most efficient strategy to send the messages over each link of the
2236 network only once. This has benefits for streaming multimedia: the
2237 standard one-to-one unicast offered by TCP/DCCP means that n clients
2238 listening to the same stream also consume n-times the resources,
2239 whereas multicast requires to send the stream just once, irrespective
2240 of the number of receivers. Since it would be costly to maintain state
2241 for each listening receiver, multicast often implies connectionless
2242 transport, which is the reason that it is currently only available
2245 Abstract socket namespace
2246 -------------------------
2247 UNIX domain sockets are a traditional way to communicate between
2248 processes on the same machine. They are always reliable (see above)
2249 and don't reorder datagrams. Unlike TCP and UDP, UNIX domain sockets
2250 support passing open file descriptors or process credentials to
2253 The usual way to set up a UNIX domain socket (as obtained from
2254 socket(2)) for listening is to first bind the socket to a file system
2255 pathname and then call listen(2), then accept(2). Such sockets are
2256 called _pathname sockets_ because bind(2) creates a special socket
2257 file at the specified path. Pathname sockets allow unrelated processes
2258 to communicate with the listening process by binding to the same path
2259 and calling connect(2).
2261 There are two problems with pathname sockets:
2263 * The listing process must be able to (safely) create the
2264 socket special in a directory which is also accessible to
2265 the connecting process.
2267 * After an unclean shutdown of the listening process, a stale
2268 socket special may reside on the file system.
2270 The abstract socket namespace is a non-portable Linux feature which
2271 avoids these problems. Abstract sockets are still bound to a name,
2272 but the name has no connection with file system pathnames.
2277 Paraslash is licensed under the GPL, version 2. Most of the code
2278 base has been written from scratch, and those parts are GPL V2
2279 throughout. Notable exceptions are FEC and the WMA decoder. See the
2280 corresponding source files for licencing details for these parts. Some
2281 code sniplets of several other third party software packages have
2282 been incorporated into the paraslash sources, for example log message
2283 coloring was taken from the git sources. These third party software
2284 packages are all published under the GPL or some other license
2285 compatible to the GPL.
2290 Many thanks to Gerrit Renker who read an early draft of this manual
2291 and contributed significant improvements.
2299 - [Polynomial Codes over Certain Finite
2300 Fields](http://kom.aau.dk/~heb/kurser/NOTER/KOFA01.PDF) by Reed, Irving
2301 S.; Solomon, Gustave (1960), Journal of the Society for Industrial
2302 and Applied Mathematics (SIAM) 8 (2): 300-304, doi:10.1137/0108018)
2307 - [RFC 768](http://www.ietf.org/rfc/rfc768.txt) (1980): User Datagram
2310 - [RFC 791](http://www.ietf.org/rfc/rfc791.txt) (1981): Internet
2313 - [RFC 2437](http://www.ietf.org/rfc/rfc2437.txt) (1998): RSA
2314 Cryptography Specifications
2316 - [RFC 4340](http://www.ietf.org/rfc/rfc4340.txt) (2006): Datagram
2317 Congestion Control Protocol (DCCP)
2319 - [RFC 4341](http://www.ietf.org/rfc/rfc4341.txt) (2006): Congestion
2320 Control ID 2: TCP-like Congestion Control
2322 - [RFC 4342](http://www.ietf.org/rfc/rfc4342.txt) (2006): Congestion
2323 Control ID 3: TCP-Friendly Rate Control (TFRC)
2325 - [RFC 6716](http://www.ietf.org/rfc/rfc6716.txt) (2012): Definition
2326 of the Opus Audio Codec
2328 Application web pages
2329 ---------------------
2331 - [paraslash](http://people.tuebingen.mpg.de/maan/paraslash/)
2332 - [xmms](https://xmms2.org/wiki/Main_Page)
2333 - [mpg123](http://www.mpg123.de/)
2334 - [gstreamer](https://gstreamer.freedesktop.org/)
2335 - [icecast](http://www.icecast.org/)
2336 - [Audio Compress](https://beesbuzz.biz/code/audiocompress.php)
2338 External documentation
2339 ----------------------
2341 - [The mathematics of
2342 Raid6](https://www.kernel.org/pub/linux/kernel/people/hpa/raid6.pdf)
2345 - [Effective Erasure Codes for reliable Computer Communication
2346 Protocols](http://info.iet.unipi.it/~luigi/fec_ccr.ps.gz) by Luigi
2352 implementation](http://info.iet.unipi.it/~luigi/vdm.tar.gz) by
projects / paraslash.git / blob