Seb Lee-Delisle has built a career around large installations that use powerful lasers and high-end projects to make people happy. It’s a dream job that came to fruition through his multi-discipline skill set, his charismatic energy, and a mindset that drives him to see how he can push the boundaries of what is possible through live interaction.
His talk at the Hackaday | Belgrade conference is about his Laser Light Synth project, but we’re glad he also takes a detour into some of the other installations he’s built. The synth itself involves some very interesting iterative design to end up with a capacitive touch audio keyboard that is lit with addressable LEDs. It controls a laser that projects shapes and images to go along with the music, which sounds great no matter who is at the keyboard thanks to some very creative coding. As the talk unfolds we also hear about his PixelPyros which is essentially a crowd-controlled laser fireworks show.
See his talk below and join us after the break for a few extra details.
Continue reading “Curiously Delightful Things Done with Lasers and Projectors”
If you’ve ever seen an old movie or TV show where there was a radio announcer, you’ve probably seen a ribbon microphone. The RCA 44 (see Edmund Lowe, on right) had exceptional sound quality and are still valued today in certain applications. The name ribbon microphone is because the sound pickup is literally a thin strip of aluminum or other conductive material.
Unlike other common microphones, ribbons pick up high frequencies much better due to the high resonant frequency of the metallic ribbon. This is not only better in general, but it means the ribbon mic has a flatter frequency response even at lower frequencies. Another unique feature is that the microphone is bidirectional, hearing sounds from the front or back equally well. It is possible to build them with other directional patterns, although you rarely see that in practice.
In the early 1920s, Walter Schottky and Erwin Gerlach developed the ribbon microphone (and, coincidentally, the first ribbon loudspeaker). Harry Olson at RCA developed a ribbon mic that used coils and permanent magnets which led to the RCA Photophone Type PB-31 in 1931. Because of their superior audio response, they were instant hits and Radio City Music Hall started using the PB-31 in 1932. A newer version appeared in 1933, the 44A, which reduced reverberation.
Continue reading “Blue Ribbon Microphone”
Cutting the slots in a guitar’s neck for the frets requires special tooling, and [Gord]’s contribution to his friend’s recent dive into lutherie was this lovingly engineered and crafted fret mitering jig. We’d love to have a friend like [Gord].
We’ve covered a number of [Gord]’s builds before, and craftsmanship is the first thing that comes to mind whether the project is a man-cave clock or artisanal soaps. For this build, he stepped up the quality a notch – after all, if you’re going to build something you could buy for less than $200, you might as well make it a thing to behold.
There’s plenty to feast the eyes on here – an oak bed with custom logo, the aluminum jig body with brass accents, and the precision bearings that guide the pricey backsaw. Functionality abounds too – everything is adjustable, from the depth of cut to the width of the saw blade. There’s even a place to store the adjustment tool.
The result? Well, let’s just say that [Gord] and his friend [Fabrizio] are kindred spirits in the craftsmanship department. And [Fab]’s not a bad axeman either, as the video below shows.
Continue reading “Engineering Meets Craftsmanship in this Guitar Fretting Jig”
Circuit-bending is tons of fun. The basic idea is that you take parts of any old electronic device, say a cheap toy keyboard, and probe all around with wires and resistors, disturbing its normal functioning and hoping to get something cool. And then you make art or music or whatever out of it. But that’s a lot of work. What you really need is a circuit-bending robot!
Or at least that’s what [Gijs Gieskes] needed, when he took apart a horrible Casio SA-5 and grafted on enough automatic glitching circuitry to turn it into a self-playing musical sculpture. It’s random, but somehow it’s musical. It’s great stuff. Check out the video below to see what we mean.
We also love the way the autonomous glitching circuit is just laid over the top of the original circuitboard. It looks like some parasite out of Aliens. But with blinking LEDs.
Continue reading “Autonomous Electro-musical Devices”
Hackaday.io user [eagleisinsight] is a high-school hacker whose dreams of becoming a Theremin virtuoso were thwarted by the high cost of a commercial instrument. His response is the Minimin, an affordable Theremin design using a 555 and an ATMega328.
The 555 is configured as an astable oscillator running at about 5MHz and with a loop antenna attached to its timing capacitor. The parasitic capacitance of the musician’s hand against the antenna varies the frequency of the oscillation, as you would expect. In a classic Theremin the signal from the 555 would be mixed with the output from a fixed 5MHz oscillator and the sound would be generated from the difference between the two oscillators, but in [eagleisinsight]’s design the 555 clocks the ATMega328’s timer. The processor can thus read the oscillator frequency and use that value to control a waveform generator.
There is something missing from this Theremin: a second antenna for volume. For now a potentiometer does that job, but [eagleisinsight] is working on a MkII device to correct this omission, along with plans to replace the ATMega with an XMega processor whose DAC can produce a sine wave output and whose USB port can be used to enable the Minimin as a MIDI controller.
As you might expect, we’ve covered numerous Theremins over the years here on Hackaday. You can browse them all, but we’d like to draw your attention to a typical breadboard instrument using a soda can antenna, people using Theremins as Guitar Hero controllers, and Léon Theremin’s terpistone, a full-body instrument.
Give some mundane, old gear to an artist with a liking for technology, and he can turn it into a mesmerizing piece of art. [dmitry] created “red, an optic-sound electronic object” which uses simple light sources and optical elements to create an audio-visual performance installation. The project was the result of his collaboration with the Prometheus Special Design Bureau in Kazan, Russia. The inspiration for this project was Crystall, a reconstruction of an earlier project dating back to 1966. The idea behind “red” was to recreate the ideas and concepts from the 60’s ~ 80’s using modern solutions and materials.
The main part of the art installation consists of a ruby red crystal glass and a large piece of flexible Fresnel lens, positioned in front of a bright LED light source. The light source, the crystal and the Fresnel lens all move linearly, constantly changing the optical properties of the system. A pair of servos flexes and distorts the Fresnel lens while another one flips the crystal glass. A lot of recycled materials were used for the actuators – CD-ROM drive, an old scanner mechanism and old electric motors. Its got a Raspberry-Pi running Pure Data and Python scripts, with an Arduino connected to the sensors and actuators. The sensors define the position of various mechanical elements in relation to the range of their movement. There’s a couple of big speakers, which means there’s a beefy amplifier thrown in too. The sounds are correlated to the movement of the various elements, the intensity of the light and probably the color. There’s two mechanical paddle levers hanging in there, if you folks want to hazard some guesses on what they do.
Check out some of [dmitry]’s earlier works which we featured. Here’s him Spinning a Pyrite Record for Art, and making Art from Brainwaves, Antifreeze, and Ferrofluid.
Continue reading “Circuit Bender Artist bends Fresnel Lens for Art”
Smart Energy GB are the organisation campaigning for the roll-out of smart energy meters in the UK. Publicizing smart meters and making traditional electricity and gas meters look obsolete is part of their mission, and towards the end of last year they came up with a novel idea. “Requiem for Meters”, is a piece of orchestral music performed on instruments made from old gas and electricity meters, and recorded by the Royal Philharmonic Orchestra at the famous Abbey Road Studios in London.
The old meters serve as much as artworks in some of the instruments as they do a function. As far as we can see for example the gas meter violins are electric instruments rather than acoustic, the meter serving only as the physical body of the instrument rather than as an acoustic cavity in the way the body of a traditional violin does. The wind instruments seem to incorporate the cavity of a gas meter in their construction though and the percussive instruments are very much dependent on the properties of the meters themselves, though we’ll leave it to the reader to decide whether the resulting sound is one you’d want regularly on your hi-fi.
The video below the break shows some of the background to the piece, though sadly not as much instrument building detail as we’d like.
Continue reading “A Requiem For Meters”