[Josh] wrote in to tell us about an experimental instrument he’s been working on for a couple of months. We’re glad he did, because it’s a really cool project. It’s an organ that uses the principle of back-drive—applying torque to the output shaft of a motor—to create sounds. [Josh] is back-driving four octaves worth of stepper motors with spinning wooden disks, and this generates alternating current. At the right speeds, the resulting sinusoidal waveform falls within the range of human hearing and can be amplified for maximum musical enjoyment.
[Josh] built this organ from the ground up, including the keys which are made from oak and walnut. Each of the forty-nine stepper motors has a corresponding wooden disk. The larger the wooden disk in the stack, the higher the resulting pitch. [Josh] says that if he built it for a full 88 keys, the highest note’s disk would be sixteen feet in diameter.
This stack of disks is driven independently by a separate DC motor, and the speed determines the key it will play in. When [Josh] plays a note, that note’s lever is actuated and its stepper motor makes contact with its disk in the stack. When they meet, the motor is back-driven by the spinning disk. In other words, they work in concert to produce some cool, eerie sounds.
Here’s a somewhat similar sort of build made from lasers and fans, if you consider that both instruments create music from objects that weren’t built to do so. Watch [Josh] play his stepper organ after the break. He has several build videos on his YT channel, and we’ve also embedded the one that covers the motor, power, and electronics part of the build.
Continue reading “An Organ Made from Back-Driven Steppers”
Do any of you stay awake at night agonizing over how the keytar could get even cooler? The 80s are over, so we know none of us do. Yet here we are, [James Cochrane] has gone out and turned a HP ScanJet Keytar for no apparent reason other than he thought it’d be cool. Don’t bring the 80’s back [James], the world is still recovering from the last time.
Kidding aside (except for the part of not bringing the 80s back), the keytar build is simple, but pretty cool. [James] took an Arduino, a MIDI interface, and a stepper motor driver and integrated it into some of the scanner’s original features. The travel that used to run the optics back and forth now produce the sound; the case of the scanner provides the resonance. He uses a sensor to detect when he’s at the end of the scanner’s travel and it instantly reverses to avoid collision.
A off-the-shelf MIDI keyboard acts as the input for the instrument. As you can hear in the video after the break; it’s not the worst sounding instrument in this age of digital music. As a bonus, he has an additional tutorial on making any stepper motor a MIDI device at the end of the video.
If you don’t have an HP ScanJet lying around, but you are up to your ears in surplus Commodore 64s, we’ve got another build you should check out.
If you have an interest in audio there are plenty of opportunities for home construction of hi-fi equipment. You can make yourself an amplifier which will be as good as any available commercially, and plenty of the sources you might plug into it can also come into being on your bench.
There will always be some pieces of hi-fi equipment which while not impossible to make will be very difficult for you to replicate yourself. Either their complexity will render construction too difficult as might be the case with for example a CD player, or as with a moving-coil loudspeaker the quality you could reasonably achieve would struggle match that of the commercial equivalent. It never ceases to astound us what our community of hackers and makers can achieve, but the resources, economies of scale, and engineering expertise available to a large hi-fi manufacturer load the dice in their favour in those cases.
The subject of this article is a piece of extreme high-end esoteric hi-fi that you can replicate yourself, indeed you start on a level playing field with the manufacturers because the engineering challenges involved are the same for them as they are for you. Electrostatic loudspeakers work by the attraction and repulsion of a thin conductive film in an electric field rather than the magnetic attraction and repulsion you’ll find in a moving-coil loudspeaker, and the resulting very low mass driver should be free of undesirable resonances and capable of a significantly lower distortion and flatter frequency response than its magnetic sibling.
Continue reading “Electrostatic Loudspeakers: High End HiFi You Can Build Yourself”
[Folkert van Heusden] sent us in his diabolical MIDI device. Ardio is a MIDI synthesizer of sorts, playing up to sixteen channels of square waves, each on its separate Arduino output pin, and mixed down to stereo with a bunch of resistors. It only plays square waves, and they don’t seem to be entirely in tune, but it makes a heck of a racket and makes use of an interesting architecture.
Ardio is made up of three separate el cheapo Arduino Minis, because…why not?! One Arduino handles the incoming MIDI data and sends note requests out to the other modules over I2C. The voice modules receive commands — play this frequency on that pin — and take care of the sound generation.
None of the chips are heavily loaded, and everything seems to run smoothly, despite the amount of data that’s coming in. As evidence, go download [Folkert]’s rendition of Abba’s classic “Chiquitita” in delicious sixteen-voice “harmony”. It’s a fun exercise in using what’s cheap and easy to get something done.
Brothers [Armand] and [Victor] took their acoustic guitar to the next level, making their own pickups to turn it into an electric guitar. The result is that awesome electric guitar sound.
The pickups are homemade magnetic pickups. Each string has a steel bolt behind it with three ceramic magnets on each bolt. A coil is also wrapped around all the pickups. That coil is what’s connected to the wires going to the amplifier. When a string vibrates, it changes the magnetic field in the pickup which induces a current in the coil and that is then sent on to the amplifier to be altered as desired and turned back into sound. Of course that meant the guys had to replace their nylon strings for steel ones.
With just the volume amplified the sound isn’t very different but when the amplifier’s gain is turned up and the volume turned down the sound is undoubtedly electric. As you can hear in the video below, Johnny B. Goode, Paint it Black and Satisfaction take their acoustic guitar’s sound to a whole new level.
Continue reading “Rocking An Acoustic Guitar By Making It Electric”
[Bruce Land] switched his microprocessor programming class over from Atmel parts to Microchip’s PIC32 series, and that means that he’s got a slightly different set of peripherals to play with. One thing that both chips lack, however is a digital-to-analog converter (DAC). Or do they? (Dun-dun-dun-duuuuhnnnn!)
The PIC part has a programmable, sixteen-level voltage reference. And what is a
Vref if not a calibrated DAC? With that in mind, [Bruce] took to documenting its performance and starting to push it far beyond the manufacturer’s intentions. Turns out that the
Vref has around 200 kHz of bandwidth. (Who would update a voltage reference 200,000 times per second?)
Anyway, [Bruce] being [Bruce], he noticed that the bits weren’t changing very often in anything more than the least significant bit: audio waveforms, sampled fast enough, are fairly continuous. This suggests using a differential PCM encoding, which knocks the bitrate down by 50% and saves a lot on storage. (Links to all the code for this experiment is inline with his writeup.)
The audio hacks that come out of [Bruce]’s Cornell ECE classes are always a treat. From the lock that you have to sing to open, to chiptunes programmed into an FPGA, there’s something for music fans of all inclinations.
[Scott Campbell] built a cassette-based synthesizer that sounds exactly like everything you’ve heard before. The sound generation comes straight off cassettes, but the brainbox of this synth varies the volume and pitch. It’s called the Onde Magnetique, and it is what you would get if you combined a Mellotron and Ondes Martenot.
The key component for the Onde Magnetique is a Sony cassette recorder that conveniently and inexplicably comes with a ‘tape speed input’ mini jack. By varying the voltage sent to this input jack, the speed of the tape, and thus the pitch of the sound being played, is changed. Build a box with a touch-sensitive button for volume, and a few tact switches for different speeds, and you have an electromechanical bastard child of a Mellotron and an Ondes Martenot.
By itself, the Onde Magnetique produces no sound – it only controls the pitch and volume of whatever is on the cassette. [Scott] produced a few single-note cassettes for his instrument, with ‘voice patches’ including a flute, choir, and a synth. With the CV and Gate input, these sounds can be sequenced with outboard gear, producing the wonderful sounds heard in the video after the break.
Continue reading “Onde Magnetique Will Wow And Flutter Your Ears”