[Ian Cole’s] son is learning to play the drums on an electronic drum set, and he wanted a way to continue practicing during his frequent visits to his grandparents’ house. [Ian] had picked up a Spikenzielabs “Drum Kit Kit All-Inclusive” (DKKAI) earlier this summer, and set out to build an easily transportable drum set.

The DKKAI comes with an ATmega168-based board and a set of piezos that can be used to register hits. It was up to [Ian] to provide the rest of the kit, so he set off to IKEA in search of cheap, durable drum heads. He returned with a handful of 1/2 Liter plastic bowls, which he mounted on a PVC pipe drum stand.

The piezos were mounted on thin aluminum discs, which were in turn glued to the back side of the bowl lids. The piezos were wired to the DKKAI kit via the PVC tubing, with the signals ultimately fed into an iPad running Garage Band. [Ian] says that his portable drum set works quite well, and although there are some things that require changing, his son is very happy with his new practice set.

Check out the video below to see the portable drum kit in action.

[Maayan Migdal] wrote in to share a really cool drum kit he constructed that has one special twist – no drums at all. Using a simple MIDI device and an Arduino, his “Air Drums” look pretty sweet.

The hack makes use of a pair of garden rakes, which serve as his drum sticks. The rakes were cut down and modified to allow the addition of accelerometers and some USB cables. The left stick contains a single accelerometer for registering hi-hat hits, while the right stick is armed with a pair of the modules, which are used to trigger snare and crash symbol strikes. He modified a pair of sandals to fit better while drumming before adding a sensor to each shoe. The left sandal contains an accelerometer to register bass drum hits, while the right shoe uses a light sensor to simulate the use of a hi-hat pedal.

We think that the results are awesome, but feel free to check out the video below to see what we mean. If Guitar Hero wasn’t dead in the water on hiatus, we think this sort of setup would make a great replacement for the flimsy drum set that comes with the game.

In our hands-on review of the Digilent chipKIT Uno32, we posed the question of what the lasting appeal might be for a 32-bit Arduino work-alike. We felt it needed some novel applications exploiting its special features…not just the same old Arduino sketches with MOAR BITS. After the fractal demo, we’ve hit upon something unique and fun…

So just what are the chipKIT’s unique features over a stock Arduino? Until the expected Ethernet shield ships this summer, a few ideas are on hold. Let’s see then…there’s no shortage of MIPS, of course…but there’s also heaps of RAM and flash storage. And with the latter, sampled audio came to mind. There are Arduino shields for just this sort of thing — the Adafruit Wave Shield turns up in many projects, using an SD card for sound storage — but if one’s needs are modest, the chipKIT’s PIC32 is perfectly capable of storing brief audio samples in its own flash program space, no cards, adapters or added expense required. We estimate the Max32 can hold nearly a full minute of voice-quality audio.

Playing with the idea, we found we could do one better. Actually, several better. A limitation of SD card-based players like the Wave Shield is that they can only play one sound at a time. Dealing with the FAT filesystem and buffering audio data off the card takes nearly everything the Arduino’s little ATmega chip can muster…polyphonic sound requires kludges. But our flash-resident audio samples on the chipKIT are trivial to access. With the fast 32-bit CPU, many samples can be processed simultaneously…and then, with gobs of RAM, time-based effects such as reverb can be added. And before we knew it, there was a toy synthesizer sitting on the table:

Having previously dabbled with the PIC32 using Microchip’s tools, we were surprised by the simplicity with which this went together. A few early rough spots aside, the chipKIT and MPIDE environment show major promise for being every bit as simple as Arduino. In fact, the whole build was completed faster than the documentation phase. And then a second surprise, even to us: everything in the parts list, aside from the chipKIT board itself, is common stuff that could be found at RadioShack. No funky special ICs, components or mail-order shields. Most of the “magic” is in software, thanks to this fast microcontroller.

Here’s a demonstration of the finished mini-synth in action:

Please excuse the demonstrator’s tragic lack of rhythm and coordination. This is why professional musicians get paid millions while amateurs lead sad lives as technology bloggers. Be thankful that we spared you the blooper reel.

Input is via five piezoelectric transducers (RadioShack #273-0073, $2.19 each) attached to analog inputs A0 through A4. We could have just used pushbuttons, sure, but we wanted something that could sense the pressure of each hit, and these were cheaper than force-sensitive resistors. Piezo sensors have a specific polarity, and the positive side (red wires) should connect to the analog inputs, and black to ground. There’s also a 2000 Ohm resistor added across each element:

Input for the reverb effect is straightforward. Two 10K potentiometers on analog inputs A6 and A7 (these are on the second row of analog inputs on the chipKIT Uno32, not present on Arduino). One controls the amplitude, the other controls the delay:

Finally, sound output uses high-speed PWM output on digital pin 3, passed through a simple low-pass filter to a headphone jack:

On our breadboard we’re using a handy little headphone breakout board from SparkFun, but one could just solder the appropriate wire leads onto a bare jack from “The Shack” (ugh). You may want to optionally add a 1 Meg pot just before the headphone jack. The circuit worked fine as-is with headphones or an amplified iPod speaker, but totally saturated our camera’s microphone input when fed directly.

This demo uses 16 KHz sound samples. As per Nyquist theory, the low-pass filter is then designed for an 8 KHz (-ish) cutoff frequency. For purely voice applications, half those rates should be sufficient (saving flash space and allowing longer samples), and the two resistor values should then be doubled.

And that’s it for parts. Can you believe it? On to the code…

To begin, we need something that can convert sound files into a format the C compiler can use. An ugly little UNIX command-line utility converts WAV files from a very specific format (8-bit mono, uncompressed) into C header files that can be #included by the MPIDE project. Arduino normally would use the PROGMEM directive to put these tables into the code flash space, but that’s not required here. Surprisingly, the much-loved Audacity program wouldn’t export 8-bit WAVs, but we found it possible to batch convert sounds using iTunes.

const signed char sample_drum[] = {
        0x02,0x03,0x01,0x00,0x00,0x00,0x00,0x01,
        0x01,0x01,0x01,0x01,0x01,0x01,0x01,0x00,
        ...HUNDREDS OF LINES OF STUFF...
        0xff,0xff,0xff,0xfd,0xfd,0xff,0x00,0x00,
        0x00,0x00,0x00,0x00,0x02,0x00 };

We’ll spare you the horror of looking at that code or doing the conversion. You can download the complete set of project files here, and then adapt it to your own needs. The remainder of this article deals only with the MPIDE code.

But first, one fix is required: in our prior article, we encountered an issue with the chipKIT’s analog read speed, and a fix was discussed in the comments. This involves scrounging among the MPIDE source files for “wiring_analog.c” and changing a few lines. The old code resembles:

delayMicroseconds(99);
while ( ! mAD1GetIntFlag() ) { }
analogValue = ReadADC10(0);
mAD1ClearIntFlag();

This should be changed to:

delayMicroseconds(2);
mAD1ClearIntFlag();
while ( ! mAD1GetIntFlag() ) { }
analogValue = ReadADC10(0);

We’re told this change will be incorporated into later releases of the toolkit and this won’t be necessary for much longer. If you’re just ripping out the digital audio code from this project and ignoring this drum pad stuff, you can skip the change altogether.

And then there’s our sketch code:

// Mini sampling synthesizer for chipKIT Uno32.

#include "sounds.h"       // N_SAMPLES and data are here
#define PWM_PIN         3 // OC1 PWM output - don't change
#define SAMPLE_RATE 16000 // All samples fixed at 16 KHz
#define MAX_SOUNDS     10 // Polyphonic limit
#define MAX_ECHO     4000 // 1/4 sec fits in Uno32 RAM

short
  echo_data[MAX_ECHO]; // Circular buffer for echo

int
  echo_delay = 0, // Duration of echo effect
  echo_vol   = 0, // Echo effect volume (0-1023)
  echo_pos   = 0; // Current position in echo buffer
volatile int      // May change during interrupt:
  n_sounds   = 0; // Number of sounds currently playing

struct soundStruct {
  int sample; // Index of corresponding audio sample
  int pos;    // Current position within sample
  int vol;    // Playback volume, 0-1023
} sound[MAX_SOUNDS];

#define N_PADS N_SAMPLES // One pad for each sample

struct padStruct {
  short max;       // Max pressure during press (0-1023)
  short count;     // Timer for filtering out noise
  byte  triggered; // If set, currently reading a press
  short add;       // If >0, begin sound at next interrupt
} pad[N_PADS];

void setup()
{
  memset(pad, 0, sizeof(pad));    // Clear drum pad data
  memset(echo_data, 0, sizeof(echo_data)); // Clear echo
  pinMode(PWM_PIN, OUTPUT);     // Enable PWM output pin

  // Open Timer2, 1:1 w/256 tick interval (for 8-bit PWM)
  OpenTimer2(T2_ON | T2_PS_1_1,256);
  OpenOC1(OC_ON | OC_TIMER2_SRC | OC_PWM_FAULT_PIN_DISABLE,
    0,0);

  // Open Timer1 with interrupt for sample mixer (16 KHz)
  ConfigIntTimer1(T1_INT_ON | T1_INT_PRIOR_3);
  OpenTimer1(T1_ON | T1_PS_1_1, F_CPU / SAMPLE_RATE);

  delay(1);  // Slight delay avoids false trigger at start.
}

// Piezo transducers as input pads are fussy.
// To avoid false positives, a bit of hysteresis is used:
#define PRESS_MIN     20 // Must read at least this force
#define PRESS_COUNT    3 // for this many samples, then...
#define RELEASE_MAX    8 // Must read less than this force
#define RELEASE_COUNT 15 // for this many samples.
// Still imperfect; there are occasional double-triggerings
// and false triggers on adjacent pads.  Could be addressed
// with better mounting and isolation of pads and/or with
// improved input filtering in code or in hardware.

// The loop() function just reads pad and dial inputs; all
// audio work is done in the subsequent interrupt function.

void loop()
{
  int i, a;

  for(i = 0; i < N_PADS; i++) {  // Sample each pad...
    a = analogRead(i);

    if(pad[i].triggered) {    // Previously pressed?
      if(a <= RELEASE_MAX) {  // Yes, released now?
        if(++pad[i].count >= RELEASE_COUNT) {  // Really?
          // Sounds aren't added to play list here, just
          // flagged; they're added to the mix in the
          // interrupt.  This avoids a race condition
          // where this code may be trying to add a sound
          // while the interrupt is removing one.
          pad[i].add       = pad[i].max;
          pad[i].triggered = 0;
          pad[i].count     = 0;
        }
      } else {  // Still pressed...watch for new max
        if(a > pad[i].max) pad[i].max = a;
        pad[i].count = 0;  // Reset release counter
      }
    } else if(a >= PRESS_MIN) {  // Untriggered; new press?
      if(++pad[i].count >= PRESS_COUNT) {  // Really?
        pad[i].triggered = 1; // Flag to watch for release
        pad[i].count     = 0;
        pad[i].max       = a;
      }
    } else {  // Untriggered and below press threshold
      pad[i].count = 0;  // Clear press counter
    }
  }

  // Echo parameters come from potentiometers on A6 and A7
  echo_vol   = analogRead(6);
  echo_delay = map(analogRead(7), 0, 1023, 0, MAX_ECHO);
}

// This is the mixing/sample-playing interrupt,
// invoked at 16 KHz to match the audio sample rate.
// With guidance from Mark Sproul's PIC32 port of
// Brett Hagman's Tone library for Arduino.
extern "C"
{

void __ISR(_TIMER_1_VECTOR,ipl3) playSample(void)
{
  int i = 0, sum = 0;

  mT1ClearIntFlag();  // Clear interrupt flag

  while(i < n_sounds) {  // For each sound playing...
    // Waveform is cumulative, NOT averaged
    sum += (int)sample[sound[i].sample].data[sound[i].pos] *
      sound[i].vol;
    sound[i].pos++;  // Advance counter.  If end hit...
    if(sound[i].pos >= sample[sound[i].sample].size) {
      n_sounds--;  // Decrement number of sounds playing:
      // Move sound at end of list to the slot currently
      // occupied by the vacating sound (unless the same)
      if(i < n_sounds) {
        memcpy(&sound[i], &sound[n_sounds],
          sizeof(soundStruct));
        continue;  // Sound moved; dont advance index
      }
    }
    i++;
  }
  sum /= 1024;

  // Add in echo effect (if enabled) from circular buffer.
  // This takes place before audio level clipping so that
  // any clipping distortion won't be repeated in echo.
  if((echo_delay > 0) && (echo_vol > 0)) {
    sum += echo_data[echo_pos] * (echo_vol + 1) / 1024;
    echo_data[echo_pos] = sum;
    if(++echo_pos >= echo_delay) echo_pos = 0;
  }

  // Clip audio to 8-bit range.  This may cause distortion
  // when multiple sounds or echo exceed the 8-bit range.
  // Invoking the "quick & dirty" alibi again.
  if(sum < -128)     sum = -128;
  else if(sum > 127) sum =  127;

  SetDCOC1PWM(sum + 128);  // Set PWM output value 0-255

  // Check for any new sounds flagged by loop().
  // Done last because sounds finished above will
  // free up polyphonic slots.
  for(i = 0; i < N_PADS; i++) {
    if(pad[i].add) {
      if(n_sounds < MAX_SOUNDS) {
        sound[n_sounds].sample = i;
        sound[n_sounds].pos    = 0;
        sound[n_sounds].vol    = pad[i].add + 1;
        n_sounds++;
      }
      pad[i].add = 0;  // Clear flag even if not added
    }
  }
}

} // end extern "C"

Explanation:

The setup() function initializes two timers:

• Timer 2 and Output Compare 1 (hardware features of the PIC32 chip) are used for pulse width modulation (PWM). In conjunction with the filter previously described, this positions the speaker for each audio sample (Google for “PWM DAC” for explanations and examples). The PWM input clock is set to the chip’s full speed of 80 MHz, with an interval of 256 “ticks” (for 8-bit resolution), yielding a PWM waveform at 312,500 Hz. For this sort of DAC filtering it’s recommended that the PWM frequency be at least ten times the sample rate, so this is more than adequate for our needs. This is also why the code bypasses the native Arduino analogWrite() function for PWM, which operates on a much slower clock. Lastly, using Output Compare 1 dictates that we must use digital pin 3 for the audio output; this is one of the five native hardware PWM lines on this chip.
• Timer 1 operates at our audio sample frequency (16 KHz) and has an interrupt function attached. This function mixes audio samples and changes the PWM duty cycle of Timer2/OC1. The rates on both of these timers are set up once and never need to change, just the one duty cycle is varied.

This section of the code (and one line in the interrupt function) is admittedly not very Arduino-like, directly accessing hardware features in a non-portable manner. A more formal implementation would abstract these details into a library to which the novice programmer could just pass data. But for the sake of a simple, single-file demo, there it is, warts and all. In many ways, this is just a starting point to work from.

The loop() function reads the state of the piezo sensors and marks sounds to be played (received by the interrupt, later). There’s some crude debouncing of the piezo inputs…this really could use some more sophisticated filtering (which the PIC32 could easily handle), but it was skipped for brevity. The code generally detects varying pressure, but there’s still a fair bit of false triggering going on. In this function the reverb controls are also read: just two analogRead() calls, with the second one then mapped to the full length of the reverb buffer.

The interrupt handler is where all the fun stuff happens, and it’s surprisingly simple.

The extern “C” declaration makes the C++ compiler happy with the interrupt function declaration.

The program is designed for up to ten concurrent sounds, the details of which are held in the “sound” structure array (there’s more than enough CPU performance for greater polyphony, but it’s mostly just a matter that the input pads aren’t terribly practical for this). When a pad hit is sensed, a new item is added to this array (up to the maximum). Structure elements indicate which audio sample is used for this sound, the current playback position within the sample, and the volume level.

Audio samples are stored as signed values (rather than unsigned) because this makes them easier to mix (just add together) and easier to adjust gains (just multiply). Every opportunity is taken to use fixed-point math. From the prior fractal demo, we saw what a massive performance difference this can make — sometimes orders of magnitude. Most of our analog readings (returned as 10 bit integers from 0 to 1023) correspond to a gain (relative volume) value of 0.0 to 1.0 (or 0% to 100%). To perform this scaling in fixed-point units, add 1 to the reading, perform the multiplication (one instruction on the PIC32), then divide by 1024 (a simple shift operation, also one instruction). There’s no loss in accuracy vs. converting to floating-point; the source and destination values are going to be quantized anyway.

// Floating-point, slow:
// scale = float 0.0 to 1.0
out = (int)((float)in * scale);

// Fixed-point, crazy fast:
// scale = integer 0 to 1023
out = in * (scale + 1) / 1024;

Along these lines, note that where the audio samples are summed, this division is skipped until the end. This saves some cycles and the result works out the same. Algebraically speaking, (A/X)+(B/X)=(A+B)/X, and so forth. The interim 32-bit sum isn’t likely to overflow.

Fixed-point math happens again when applying reverb. The echo volume, in the integer variable echo_vol (10 bit again, from one of the analog knobs) is in the range 0 to 1023, corresponding to 0% (no reverb) to 100% (echo is as loud as the original sound). Reverb (in echo_data[] array) is a circular buffer — as sounds are played, the contents here (scaled by echo_vol) are first added to the output, then the result is placed back in the same position in the array and the position counter is incremented by one. When the end of the array is reached (or a shorter limit indicated by echo_delay) we “wrap around” back to the beginning.

The final resulting audio value is clipped to an 8-bit range. This may introduce clipping distortion when many loud sounds are used simultaneously. For brevity again, bells and whistles have been omitted, but courageous programmers could opt to add “soft clipping” here to limit such distortion. There’s ample CPU muscle.

The final 8-bit signed value is then transposed into the unsigned range and fed into the OC1 duty cycle for PWM output.

Lastly, the interrupt checks for any sounds that the loop() function flagged as being “hit,” and adds these to the concurrent play list. This flag-and-add behavior, rather than adding items directly in loop(), avoids a potentially nasty race condition whereby loop() could be in the midst of adding a sound just as the interrupt is removing others, throwing off the counter.

And that’s all there is to it. This demo only uses about one fourth of the storage on the Uno32, which itself has one fourth the capacity of the Max32…and we’ve yet to exploit any sort of compression. There could be some fun applications here, maybe adding better Super Mario sounds to toilets or voice prompts to other chipKIT projects (“Your door is ajar”). What other ideas could you see happening here?

[Paul] Wrote in to tell us about a quick project that might be useful to others out there. He was having some problems with the DC jack on his Yamaha DD35 portable drum kit. Naturally, he did what most of us would do and just broke out the soldering iron and prepared to solder it back in place(hot glue it afterwards, that always helps too). That part isn’t a big deal, we’ve all seen it a million times. However, while inspecting the DC jack, he noticed something silk screened on the board right next to it.  As it turns out, that was a kick pedal jack. After a few minutes hunting for a victim around the house that would be sacrificed for its plug, he got his hands on one. A few moments later he was jamming away with a kick pedal.

We absolutely love these super quick upgrades. [Paul] thought maybe this feature was left out at the last minute, and we’ve seen this type of thing for a number of reasons. Maybe that was a feature kept aside for a more expensive model, maybe there was some other reason it was left off. Frankly, we don’t care, we just think it is awesome that it works!

Stay with us to see a quick video demonstration.

[Dan] likes Rock Band, but playing it makes him feel as useful as a one-legged man in an ass-kicking a drumming contest. He says that even using his friend’s ION kit leaves him searching out excuses as to why he’s not as good as he should be on the drums.

Eventually, he decided that he would settle things once and for all. The final excuse he came up with was that it is too difficult to press the drum pedal rapidly without getting tired, as the Rock Band gear does not properly simulate real drum equipment. Bass pedals on professional kits are weighted and balanced to allow the drummer to exert the least amount of work for the most return, resulting in a less tiring experience.

To give him a leg up while playing the game, he decided to rig a trigger to his Yamaha MIDI bass pedal, which is properly weighted. He consulted the Rock Band forums, and after looking at a couple of different circuit diagrams, he designed his own. He etched a PCB, mounted his SMD components, and was well on his way to becoming a drum legend.

He says that the pedal interface works quite well, and despite a couple of tiny soldering setbacks, he has yet to see any errant hits register in-game.

Be sure to check out the video below of his drum trigger undergoing some tests.

[Pat Metheny] has a robot armada backing him up when he performs on stage. They’re going on tour and he’s done an interview explaining his mechanical band. Like the auto-drummer, this setup uses multitudes of solenoids to play the percussion instruments, each getting commands from a computer. It’s pretty wicked to see him use his guitar as a marimba controller; it’s so responsive that he can tremolo and the solenoid follows in kind.

But there’s a lot more going on here. We love to see crazy facial hair from time-to-time, but this guy’s just got crazy hair! This easy listening isn’t exactly hair-band material but more like live-action Animusic. It’s also reminiscent of the automated orchestras at House on the Rock, an attraction you may remember reading about in American Gods. It’s fun to kid, but whether you like the music or not, he’s certainly talented when it comes to this genre.

[Thanks Grey]

[Segwaymonkey] picked up an arduino based drumkit circuit and needed a kit to place it on. He worked up a pretty cool design and had it laser cut out of acrylic. The cool part of the design is how he delt with the head motion of the drum. Each head has 4 “springs” that were also cut from the acrylic. The Arduino based drum circuit sits on a little pedestal in the middle, as though it were on display. We really like the design, but we have to wonder if a little noise dampening on the heads might be a good idea. He hasn’t released the plans, but says he might once he gets it perfect.

[Ben Heck] the uber modder has posted a new project. He has made a breath controlled kick pedal for all of the Guitar Hero style games. Though the tutorial focuses on Guitar Hero World Tour, he does explain how it could be done for Rock Band at the end. This is intended for someone in a wheelchair who couldn’t actually use the kick pedal and needed their hands free to play the rest of the drums. He took apart the kick pedal that came with it to get the piezoelectric switch out of it. Then, he made a little chamber and placed the switch on a diaphragm at one end. When you blow, the diaphragm moves and triggers the switch. Pretty simple really. There is a video available of [Ben] trying it out as well.

[Matt] found, like many people, his Guitar Hero: World Tour cymbals left much to be desired. They were only detecting hits intermittently and starting to crack and fall apart as well. While he was waiting for his warranty replacements to arrive, he just couldn’t help by try to make his own improved version. Using about $25 worth of parts, mainly consisting of plastic plates and some neoprene material, he managed to make some pretty fantastic replacements.  A video of them working might be a nice addition, but the writeup was pretty detailed otherwise.

[HE Zao] sent us this sweet Wiimote Drum kit. You’ll nee a Wiimote, a Nunchuck, and a Balance Board to use with the the Wii Drum High software. You get a Hi-hat, snare, bass drum, crash cymbal, ride cymbal, mid tom, and low tom. You can even connect multiple sets, up to 4. Download the software from the site and get started.

[via Create Digital Music]