[Atdiy and Whisker], collectively known as [The Tymkrs] have been busy honing their luthier skills. They’ve created a 10 part YouTube series about the construction of their new cigar box guitar. Instead of a cigar box though, they’ve substituted a 1920’s tin cigarette box. The Omar Cigarette company gave “Project Omar” it’s name. Like [Tymkrs] previous guitar, Omar is a three string affair. The neck was cut from Black Palm, which really shined when polished with a mixture of orange oil and beeswax. They also threw in a couple of new tricks on this build. Omar is an electric guitar, with a pickup custom wound by [Bob Harrison]. Omar also has frets, which creates a whole new set of complications. Frets are generally installed by cutting slits in the guitar neck with a fret saw. Rather than buy a new tool, [Tymkrs] created a simple jig for their mini table saw. The jig held the guitar neck perpendicular with the saw blade. This made quick work of the many fret slits to be cut. Installed frets must also be dressed and leveled, which is a time-consuming process.
The tin cigarette box also created a new set of problems. The thin tin proved to be a bit on the weak side when the strings were tightened down. A bit too much pressure on the box while playing would cause notes to bend, much like the tremolo or whammy bar on a standard electric guitar. [Tymkrs] were able to counteract this by adding bracing inside, and a couple of black palm braces to the back of the box.
Hum was also a problem. When [Tymkrs] first plugged in, they found they had more 60Hz mains hum than signal from their strings. Omar uses a classic single coil guitar pickup. Single coils will pick up noise from any magnetic field, including the field created by the studio electrical system. A humbucking pickup uses two coils to counteract this effect. Humbuckers also have a slightly different tone than single coils. [Tymkrs] wanted to stick with their single coil tone, so they counteracted the hum by raising the pickup closer to the strings. Higher pickups receive more signal from the strings, so this is basically a free signal to noise ratio improvement. They also grounded the entire tin box, along with Omar’s metal tail stock. The final build sounds great, as evidenced by the jam session toward the end of Video 10.
Continue reading “A Guitar From an Old Tin Box”
In this 1942 tour of the RCA Victor plant in Camden, NJ, we see the complete record making process from the master cut production to the shipping of multiple 78RPM shellac pressings. The film centers around a recording of Strauss’ Blue Danube waltz as performed by the 1940s equivalent of studio musicians, the Victor Salon Orchestra.
The master record starts life as a thin layer of molten wax poured on to a hot circular plate in a dust-free room. Bubbles and impurities are blow torched out, and the wax is left to cool under a steel dome. This perfect disc is carefully passed to the recording studio through a special slot, where it is laid carefully beneath the cutting stylus.
Unlike today’s multi-track recording sessions, the master was cut from the performance of a complete band or orchestra all playing as they would in concert. The sound engineer was responsible for making fast changes on the fly to ensure sonic and groove width consistency.
After cutting, the delicate wax undergoes several phases of electrolysis that form the metal master. It is bombarded first with pure gold and then twice with copper sulfate to build a sturdy disc. The copper ionization process also ensures high fidelity in the final product.
Although mighty, this master won’t last long enough to make all the necessary pressings, so a mother matrix is made. This is a negative image of the master. The mother is formed by electrolytically bathing the master in nickel, and then adding a thin film of some indeterminate substance. Another copper bath, and mother emerges. As soon as possible, the master is separated and whisked away to the storage vault.
Since a positive image is needed for pressing, a stamping matrix is made. Mother gets a nickel bath for durability, and then a copper bath to form the stamping matrix. Many stampers are created so that several records can be pressed at once. These images get a chromium plating to help them last through many pressings.
Continue reading “Retrotechtacular: Wax On, Wax Off: How Records Are Made”
At the end of every semester, we get a bunch of cool and well-documented student projects from Cornell’s ECE4760 class. [Scott] and [Alex]’s infrared theremin is no exception.
The classic theremin design employs each of the player’s hands as the grounded plate of a variable capacitor in an LC circuit. For the pitch antenna, this circuit is part of the oscillator. For the volume antenna, the hand capacitor detunes another oscillator, changing the attenuation in the amplifier.
[Scott] and [Alex] put a twist on the theremin by using two IR sensors to control volume and pitch. The sensors compute the location of each hand and output a voltage inversely proportional to its distance from the hand. An ATMega1284P converts the signal to an 8-bit binary number for processing. They built four voices into it that are accessible through the push-button switch. The different voices are created with wave combinations and modulation effects. In addition to Classic Theremin, you can play in pure sine, sawtooth, and FM modulation.
If you’re just not that into microcontrollers, you could build this digital IR theremin instead. If you find IR theremins soulless or plebeian, try this theremincello.
Continue reading “IR Theremin Speaks In Four Voices”
Looking for a way to entertain friends and family this holiday season? Look no further than the Arduino-powered Photocell Piano. [Asahillis] has posted this Instructable for building a 6-note musical command center.
The piano uses photoresistors to turn each note on when the player runs their hand over it. Notes can be tuned independently using potentiometers on the front of the box. The hack uses two circuits: one to generate the tones, and a second to mix them. [Asahillis] adapted [Forest Mims III]’s timeless schematics for the 555 Tone Maker and the 741 Audio Mixer to create his Photocell Piano.
When the instrument is powered on, the code takes a 5-second reading of the ambient light, and sets a threshold based on its findings. Afterward, the first note will sound, indicating the piano is ready to be played. Each note has its own if-else statement that tells it to sound when its corresponding photoresistor reaches a value below the set threshold (when the player casts a shadow).
There’s a demo video included in the guide but we couldn’t embed it here. Check out the demo video after the break.
If you prefer to rock out with your lights out, there’s always this impressive laser harp.
Continue reading “Cast a Shadow, Play a Note”
[Richard] recently rediscovered some files from a hack he did back in 2004. He was experimenting with exciting piano strings via electromagnetic fields. The idea shares some elements with the self tuning piano we saw back in 2012. Piano strings, much like guitar strings, are made of steel alloys. This means they create electricity when vibrated in a magnetic field. This is the basic principle upon which electric guitar pickups are built. The idea also works in reverse. The strings will vibrate in response to a modulated electromagnetic field. Anyone who has seen an E-bow knows how this can be applied to the guitar. What about the piano?
[Richard] started with the Casio CZ-101, a classic synth in its own right. The Casio’s output was run through a Peavy 100 watt amplifier. The amplified output was then used to drive custom coils mounted on a piano. The coils had to be custom wound to ensure they would be compatible with the 4 – 8 ohm impedance expected by the amplifier. [Richard] ended up winding the coils to 28 ohms. Six of these coils in parallel put him just over the 4 ohm mark. The coils effectively turned the piano into a giant speaker for the synth. In [Richard’s] write-up (word doc link) he mentions that the strings basically act as a giant comb filter, each resonating strongly in response to frequencies in its harmonic series.
The results are rather interesting. The slow attack of the magnetic fields coupled with the synth’s patch results in a surprising variety of sound. The three examples on [Richard’s] blog vary from sounding like a power chord on a guitar to something we’d expect to find in an early horror movie. We would love to see this idea expanded upon. More efficient coils, and more coils in general would add to the effect. The coils on various string groups could also be switched in and out of the system using MIDI control, allowing for even more flexibility. Continue reading “Piano Repurposed as a Resonant Synth Speaker”
[themonkeybars] recently uploaded a time-lapse video of his DIY synthesizer build. First off the video itself is a pretty neat hack. An iPhone time-lapse app was used to capture one frame every 5 seconds. By the time the build was complete, approximately 46,000 frames had been snapped. This boiled down to over 43 minutes of youtube footage. [themonkeybars] didn’t work full time on the project, so the video covers about a year’s worth of work which we think makes it even cooler. The synth is also featured in much of the video’s soundtrack.
The synthesizer itself would be classified as an analog modular synth, a type we’ve seen before. Modular synthesizers are one of the earlier forms of electronic music. The synthesizer is composed of discrete modules such as oscillators, modulators, and filters. The modules may be housed in the same box, but they are not internally connected. All connections are made via front panel patch cables. This is where the term “Patch” came from. Continue reading “Time-lapse synthesizer build will blow your mind”
[David] has created his own live robot band to play live versions of the music and sound effects of NES games. Most of us who grew up in the 80’s and 90’s have the music of Nintendo games burned into our brains. While there have been some amazing remixes created over the years, [David] has managed to do something truly unique. Armed with an emulator, some software prowess, and a pair of Raspberry Pis, [Dave] created a system that plays game music and sound effects on analog instruments. A Yamaha Disklavier player piano handles most of the work through a connection to a Raspberry Pi. Percussion is handled by a second Pi. Snare drum, wood block, and tambourine are all actuated by a custom solenoid setup.
The conversion process all happens on the fly as the game is played. [Dave] says the process has about ½ second of lag when played live, but we’re sure that could be fixed with some software tweaks. Continue reading “Mario plays piano with a little help from Raspberry Pi”