Purple Haze all around,
all those amps are runnin’ up or down.
Are my strings all goin’ left or right?
Whatever it is, electromagnetism is pushin’ me outta sight.
To do this, he put a large permanent magnet next to the string and ran an alternating current through the string itself. When the current and the magnetic field interact, the string is pushed, like the bearing of a motor. When the current goes the other way, the string is pushed in the opposite direction. Because he is using an alternating current (driven through a MOSFET tied into a frequency generator), he was able to control the frequency of this, and find the frequencies that made the string resonate, including the harmonics that give guitars their unique sound. It’s a pretty neat hack, but don’t forget that he is dealing with quite a lot of juice: if you were to inadvertantly touch the string and ground it to earth, there is enough current in the circuit to kill you.
Yeah, [Josh’s] hack is all about the right hand rule,
I know that he’s no hacking fool,
you’ve got my E string resonating, resonating so fine
just don’t touch it, or you’ll end your time
Help me, yeah, Purple Haze!
(with apologies to the ghost of [Jimi Hendrix], guitar hacker supreme)
What do you do when you want to rock out on your keytar without the constraints of cables and wires? You make your own wireless keytar of course! In order to get the job done, [kr1st0f] built a logic translator circuit. This allows him to transmit MIDI signals directly from a MIDI keyboard to a remote system using XBEE.
[kr1st0f] started with a MIDI keyboard that had the old style MIDI interface with a 5 pin DIN connector. Many new keyboards only have a USB interface, and that would have complicated things. The main circuit uses an optoisolator and a logic converter to get the job done. The MIDI signals are converted from the standard 5V logic to 3.3V in order to work with the XBEE.
The XBEE itself also needed to be configured in order for this circuit to work properly. MIDI signals operate at a rate of 31,250 bits per second. The XBEE, on the other hand, works by default at 9,600 bps. [kr1st0f] first had to reconfigure the XBEE to run at the MIDI bit rate. He did this by connecting to the XBEE over a Serial interface and using a series of AT commands. He also had to configure proper ID numbers into the XBEE modules. When all is said and done, his new transmitter circuit can transmit the MIDI signals wirelessly to a receiver circuit which is hooked up to a computer.
Not everyone can agree on what good music is, but in some cases you’ll find that just about everyone can agree on what is awful. That’s what the people over at Neo-Pangea discovered when they were listening to Internet radio. When one of those terrible songs hits their collective eardrums, the group’s rage increases and they just need to skip the track.
Rather than use a web app or simple push button to do the trick, they turned the “skip” button into a NERF target. They call their creation the Boom Box Blaster and made a fantastic demo film video about it which is found after the break.
Inspired by a painting in the office, the target takes the form of a small hot air balloon. The target obviously needed some kind of sensor that can detect when it is hit by a NERF dart. The group tried several different sensor types, but eventually settled on a medium vibration sensor. This sensor is connected to an Arduino, which then communicates with a Raspberry Pi over a Serial connection. The Pi uses a Python script to monitor the Arduino’s vibration sensor. The system also includes some orange LEDs to simulate flames and a servo attached to the string which suspends the balloon from the ceiling. Whenever a hit is registered, the flames light up and the balloon raises into the air to indicate that the shot was on target.
There is a big community of people creating all kinds of synthesizers, but until now no one has attempted to make a keyboard controller like the one [Tim] created. Not only has he created the keyboard synthesizer, but he’s developed one that is modular and 3D printed so you can just expand on the synth you have rather than go out and buy or build a new one.
The design has a lot useful features. Since the design is modular, you can 3D print extra octaves of keys if you need, and simply build off of the existing keyboard. The interior has mounts that allow circuit boards to be screwed down, and the exterior has plenty of available places to put knobs or sliders. Anything that could possibly be built into a synthesizer is possible with this system, and if you decide you want to start small, that’s possible too!
All of the design files are available from Pinshape if you want to get started. The great thing about this controller is that you could use a 555-based synth in this keyboard controller, or a SID synth, or any other synth you could think of!
Microcontroller-based projects don’t have to be fancy to be fantastic. Case in point: [r0d0t]’s “Musicomatic: the random jazz machine“. Clever programming and a nice case can transform a few servos and a microcontroller into something delightful.
Hardware-wise, there’s really nothing to see here; a speaker and some servos are hooked up to an ATmega328. We think it’s cute to have the microcontroller control its own power supply through a relay, but honestly a MOSFET in place of the relay or better still using the AVR’s shutdown sleep mode would be the way to go.
Nope, where this project shines is the programming. Technically, it might make some of you cringe — full of blocking delays and other coding “taboos”. But none of that matters, because [r0d0t] put his work in where it counts: the music. You simply must hear it for yourself in the clip after the break.
The basis of making music that humans like is rhythm, so [r0d0t] doesn’t leave this entirely to chance. The array “rhythms” has seven beat patterns that get randomly selected. The other thing humans like is predictability and repetition, so choruses and “improvs” repeat as well. All of the random notes are constrained to the pentatonic scale, which keeps it from ever sounding too bad. (The secret sauce of Kenny G.)
In short, [r0d0t] packs a lot of basic music theory into a very basic device, and comes up with something transcendent. We’re a bit reminded of the Yellow Drum Machine robot, and that’s high praise. Both projects are testaments to building something simple and then investing the time and effort into the code to make the project awesome.
For another slice of [r0d0t]’s excellent minimalist pie, check out his take on the classic Snake game: Twisted Snake.
Today we’ll take a journey into less noisy noise, and leave behind the comfortable digital world that we’ve been living in. The payoff? Smoother sounds, because today we start our trip into analog.
If you remember back to our first session when I was explaining how the basic oscillator loads and unloads a capacitor, triggering the output high or low when it crosses two different thresholds. At the time, we pointed out that there was a triangle waveform being generated, but that you’d have a hard time amplifying it without buffering. Today we buffer, and get that triangle wave out to our amplifiers.
But as long as we’re amplifying, we might as well overdrive the amps and head off to the land of distortion. We’ll do just that and build up a triangle-wave oscillator that can morph into a square wave, passing through a rounded-over kinda square wave along the way. The triangle sounds nice and mellow, and the square wave sounds bright and noisy. (You should be used to them by now…) And we get everything in between.
And while we’re at it, we might as well turn the triangle wave into a sawtooth for that nice buzzy-bass sound. Then we can turn the fat sawtooth into a much brighter sounding pulse wave, a near cousin of the square wave above.
What’s making all this work for us? Some dead-boring amplification with negative feedback, and the (mis-)use of a logic chip to get it. After the break I’ll introduce our Chip of the Day: the 4069UB.
If you somehow missed them, here are the first three installments of Logic Noise:
Origami cranes are cool, but do you know what’s cooler? Origami cranes dancing to the beat. That’s the challenge [Basami Sentaku] took on when he created Dancing Paper (YouTube link). You might remember [Basami] from his 8 bit harmonica hack. In Dancing Paper, paper cranes seem to dance all on their own – even performing some crazy spinning moves. Of course, the “magic” is due to some carefully written code, and magnets, lots of magnets.
Using magnets to move objects from below isn’t a new concept. Many of us have seen the “ice skating pond” Christmas decoration which uses the same effect. Unlike the skating pond,Dancing Paper has moving parts (other than the cranes themselves). Under the plastic surface are a series of individually controlled electromagnets. Each of the supporting dancers has a line of four magnets, while the featured dancer in the center has a 5×5 matrix. The 41 electromagnets were wound around bolts with the help of a Tamiya motor and gearbox.
The actual dance moves are controlled by C code which appears to be running on an Atmel microcontroller. Of course a microcontroller wouldn’t be able to drive those big coils, so some beefy TO-220 case transistors were employed to switch the loads. The cranes themselves needed a bit of modification as well. Thin pieces of wire travel from the neodymium magnets on their feet up to the body of the crane. The wire provides just enough support to keep the paper from collapsing, while still being flexible enough to boogie down.
Click past the break to see Dancing Paper in action!