At this point, the banana piano is a pretty classic hack. The banana becomes a cheap, colorful touch sensor, which looks sort of like a piano key. The Arduino sets the pin as a low-level output, then sets the pin as an input with a pull up resistor. The time it takes for the pin to flip from a 0 to a 1 determines if the sensor is touched.
[Stian] took a new approach to the banana piano by hooking it up to Clojure and Overtone. Clojure is a dialect of Lisp which runs in the Java Virtual Machine. Overtone is a Clojure library that provides tons of utilities for music making.
Overtone acts as a client to the Supercollider synthesis server. Supercollider has been around since 1996, and provides a wide array of sound synthesis functions. Overtone simply tells Supercollider what to do, letting you easily program sounds in Clojure.
The banana piano acts as an input to a Clojure program. This program maps the banana to a musical note, then triggers a note on Overtone’s built-in piano sampler. The result is a nice piano sound played with fruit. Of course, since Overtone and Supercollider are very flexible, this could be used for something much more complex.
After the break, a video of the banana piano playing some “Swedish Jazz.”
Continue reading “Making Music with Clojure and Bananas”
He started off making an AVR synthesized guitar, but [Erix] ended up with much more: a complete six-voice AVR wavetable synthesis song machine that’ll run on an ATMega328 — for instance, on an Arduino Uno.
If you’re an AVR coder, or interested in direct-digital synthesis or PWM audio output, you should have a look at his code (zip file). If you’d just like to use the chip to make some tunes, have a gander at the video below the break.
Continue reading “Slick Six-Voice Synth for AVRs”
In this session of Logic Noise, we’ll combine a bunch of the modules we’ve made so far into an autonomous machine noise box. OK, at least we’ll start to sequence some of these sounds.
A sequencer is at the heart of any drum box and the centerpiece of any “serious” modular synthesizer. Why? Because you just can’t tweak all those knobs and play notes and dance around at the same time. Or at least we can’t. So you gotta automate. Previously we did it with switches. This time we do it with logic pulses.
Continue reading “Logic Noise: Sequencing in Silicon”
Anyone into audio recording knows that recording drums is a serious pain. Mic setup and positioning can make or break a recording session. One particular hurdle is getting a great sound out of the bass drum. To overcome this, [Mike] has built a microphone using an 8″ woofer in an attempt to capture the low-end frequencies of his bass drum. Using a speaker as a microphone isn’t a new idea and these large diaphragm bass drum mics have taken commercial form as the DW Moon Mic and the now-discontinued Yamaha SubKick.
The project is actually quite simple. The speaker’s positive terminal is connected to Pin 2 of a 3-pin XLR microphone connector. The speaker’s negative terminal is connected to the connector’s Pin 1. [Mike] made a bracket to connect the woofer to a mic stand, which in turn was cut down to position the woofer at bass drum height. The setup is then plugged into a mixer or pre-amp just like any other regular microphone.
[Mike] has since made some changes to his mic configuration. It was putting out way too hot of a signal to the preamp so he added an attenuation circuit between the speaker and XLR connector. Next, he came across an old 10″ tom shell and decided to transplant his speaker-microphone from the open-air metal rack to the aesthetically pleasing drum shell. Check out [Mike’s] project page for some before and after audio samples.
[Kirk Kaiser] isn’t afraid to admit his latest project a bit strange, being a plant-controlled set of robotic bongos. We don’t find it odd at all. This is the kind of thing we love to see. His project’s origins began a month ago after taking a class at NYC Resistor about creating music from robotic instruments. Inspired to make his own, [Kirk] repurposed a neighbor’s old wooden dish rack to serve as a mount for solenoids that, when triggered, strike a couple of plastic cowbells or bongo drums.
A Raspberry Pi was originally used to interface the solenoids with a computer or MIDI keyboard, but after frying it, he went with a Teensy LC instead and never looked back. Taking advantage of the Teensy’s MIDI features, [Kirk] programmed a specific note to trigger each solenoid. When he realized that the Teensy also had capacitive touch sensors, he decided to get his plants in on the fun in a MaKey MaKey kind of way. Each plant is connected to the Teensy’s touchRead pins by stranded wire; the other end is stripped, covered with copper tape, and placed into the soil. When a plant’s capacitance surpasses a threshold, the respective MIDI note – and solenoid – is triggered. [Kirk] quickly discovered that hard-coding threshold values was not the best idea. Looking for large changes was a better method, as the capacitance was dramatically affected when the plant’s soil dried up. As [Kirk] stood back and admired his work, he realized there was one thing missing – lights! He hooked up an Arduino with a DMX shield and some LEDs that light up whenever a plant is touched.
We do feel a disclaimer is at hand for anyone interested in using this botanical technique: thorny varieties are ill-advised, unless you want to play a prank and make a cactus the only way to turn the bongos off!
Continue reading “Play Robotic Bongos using your Household Plants”
Two engineering students from George Mason University have built a rather unorthodox fire extinguisher. It uses a subwoofer to send sound waves powerful enough to extinguish small fires.
Similar in concept to a giant smoke-ring canon, the device uses a subwoofer with a tube that has a smaller aperture opening at the end. When the bass drops (literally), this causes an intense wave of sound (well, air), to be expelled from the device. And as you can see in the video below, it’s quite effective at putting out small fires.
They use a small frequency generator and amplifier to power the system, and throughout extensive testing found 30-60Hz to work best. It’s not actually one big blast of air, but a pressure wave that goes back and forth — agitating the air, and separating it from the fire. There is a catch though.
One of the problems with sound waves is that they do not cool the fuel,” Isman said. “So even if you get the fire out, it will rekindle if you don’t either take away the fuel or cool it.
Continue reading “Putting out Fires with a Dubstep Drop”
[James] sent us a video of his latest creation: a robotic glockenspiel that’s currently set up to play “Popcorn”. It uses eight servos to drive mallets that strike the tone bars with fast, crisp movements. The servos are driven with a 16-channel I²C servo driver and MIDI shield, which are in turn controlled with an Arduino Uno. The previous incarnation of his autoglockenspiel employed solenoids, dowels, and elastic bands.
[Gershon Kingsley]’s 1969 composition for synthesizer “Popcorn” has been covered by many artists over the years, though perhaps the most popular cut was [Hot Butter]’s 1972 release. Check it out after the break, and dig that lovely cable management. We’d love to see [James]’s autoglockenspiel play “Flight of the Bumblebee” next.
If you’re hungry for more electro-acoustic creations, have a gander at [Aaron Sherwood]’s Magnetophone.
Continue reading “Robotic Glockenspiel Crunches “Popcorn””