The Peanuts cartoon character Schroeder liked to bang out Beethoven a toy piano. Now, thanks to this hack from [Liam Lacey], Schroeder can switch to Skrillex. That’s because [Liam] built a polyphonic synth into a toy piano. It’s an impressive build that retains the look and feel of the piano, right down to a laser-etched top panel with knobs that match the glossy black styling.
The brains of the synthesizer is a Beaglebone Black using the Maximillian synthesis library. To capture the key presses, he used Velostat, a pressure-sensitive material that changes resistance under pressure. This is probably the only toy piano in the world with fully polyphonic velocity and aftertouch. The build also includes MIDI support, with two ports on the back. [Liam]’s build log is full of more details than we can even summarize here.
This beautiful build won [Liam] first place in the Element 14 Music Tech competition, and it is a well-deserved prize for a clean and elegant way to update a vintage piano.
Continue reading “Toy Piano Gets Synth Overhaul”
For electronics aficionados, there are few devices cooler than music synthesizers. The first synths were baroque confabulations of opamps and ladder filters. In the 70s and 80s, synths began their inexorable march toward digitization. There were wavetable synths that stored samples on 27-series EPROMs. Synths on a chip, like the MOS 6581 “SID chip”, are still venerated today. For his Hackaday Prize entry, [Tim] is building his own synthesizer from scratch. It isn’t a copy of an old synth, instead it’s a completely modern synthesizer with a classic sound.
[Tim] is a former game developer and has already released a synthesizer of sorts. Rhythm Core Alpha 2 for the Nintendo DSi and 3DS is a fully functional synthesizer, but the limitations of the Nintendo hardware made [Tim] want to build his own synth from scratch.
The specs for the synth are more of a wish list, but already [Tim] has a few design features nailed down. This is a virtual analog synth, where everything is digital and handled by DSP algorithms. It’s polyphonic and MIDI capable, with buttons and dials for almost every parameter. For the few things you can’t do with a knob, [Tim] is including a touch screen display.
[Tim] already has the synthesis model working, and from the videos he’s put together, the whole thing sounds pretty good. The next step is turning a bunch of wires, breadboards, and components into something that looks like an instrument. We can’t wait to see how this one turns out!
You can check out a few of [Tim]’s synth videos below.
Continue reading “Hackaday Prize Entry: A Cute Synthesizer”
People like music, but they are also visual creatures. Perhaps that’s why music visualization is such a common project. Usually, you think of music visualization as using LEDs or a computer screen. However, [Gieeel] did his music visualization using a 3D printer.
Sure, the visualization is a little static compared to LEDs, but it does make an interesting conversation piece. The actual process isn’t very difficult, once you have the idea. [Gieeel] captured the waveform in Audacity, did a screen capture, and then converts the image to an SVG file using Inkscape.
From there, you can use many different CAD tools to convert the image into a 3D object. [Gieeel] used Autodesk Fusion 360 and had the resulting object professionally 3D printed.
We’ve seen other kinds of sound sculptures before. Of course, we’ve also seen a lot of traditional visualizations, as well.
Not content with fitting a tiny square-wave MIDI synthesizer into a MIDI plug, [Mitxela] went on to cram a similar noisemaker into a USB plug itself.
Besides being physically small, the code is small too, as well as the budget. It uses V-USB for the USB library running on an ATtiny85, and a couple of passive parts. His firmware (apparently) takes in MIDI notes and spits out square waves.
Continue reading “Smallest MIDI Synth, Again!”
Performing music in open spaces can be a real challenge. The acoustics of the space can play spoil-sport. Now imagine trying to play an instrument spread out over tens of kilometres. The folks at [LimbicMedia] wrote in to tell us about the project they worked on to build the The World’s Largest Musical Instrument.
The system consists of wirelessly controlled air horns deployed at remote locations. Each air horn is self contained, driven by a supply of compressed air from a scuba diving tank and battery powered electronics. The wireless link allows the air horns to be placed up to 10kms away from the base station. Each air horn is tuned to a specific note of the piano keyboard which, in turn, is configured to transmit its note data to the air horns.
Currently, they have built 12 air horns, enough to let them play the Canadian and British anthems. The horns are built out of PVC piping and other off-the-shelf plastics with the dimensions of the horn determining its note. The setup was installed and performed at the Music by the Sea festival recently, by mounting the air horns on 12 boats which were stationed out at Sea in the Bamfield Inlet in
Eastern Western Canada. But that was just a small trial. The eventual plan is to set up air horns all around Canada, and possibly other places around the world, and synchronise them to play music simultaneously, to commemorate the 150th Canada Day celebrations in 2017.
There aren’t many details shared about the hardware, but it’s not too difficult to make some guesses. A micro-controller to operate the air solenoid, long range radio link to connect all the air horns to the base station, and another controller to detect the key strokes on the Piano. The limiting issue to consider with this arrangement is the spatial separation between the individual air horns. Sound needs about 2.9 seconds to travel over a kilometer. As long as all the air horns are at approximately the same distance from the audience, this shouldn’t be a problem. See how they did in the video after the break. We do know of another project which handled that problem brilliantly, but we’ll leave the details for a future blog post.
This isn’t the first time [LimbicMedia] was commissioned to create audio-visual public installations. A couple of years back they built this Sound Reactive Christmas Tree in Victoria, British Columbia.
Continue reading “Super Massive Musical Instrument”
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”