I never had the musical talent in me. Every now and then I would try to pick up a guitar or try and learn the piano, romanticising a glamorous career out of it at some point. Arpeggio – the Piano SuperDroid (YouTube, embedded below) sure makes me glad I chose a different career path. This remarkable machine is the brain child of [Nick Morris], who spent two years building it.
Although there are no detailed technical descriptions yet, at its heart this handsome robot consists of a set of machined ‘fingers’ connected to a set of actuators — most likely solenoids . The solenoids are controlled by proprietary software that combines traditional musical data with additional parameters to accurately mimic performances by your favourite pianists, right in your living room. Professional pianists, who were otherwise assuming excellent job security under Skynet, clearly have to reconsider now.
Continue reading “Arpeggio – the Piano SuperDroid”
Halloween might be over, but for some of us there’s still another pumpkin-centric holiday right around the corner to give us an excuse to build projects out of various gourds. During a challenge at a local event, [Michael] came up with a virtual cornucopia of uses for all of the squashes he had on hand and built a touch-sensitive piano with all of them.
The musical instrument was dubbed the Harpsi-Gourd and makes extensive use of the Arduino touch-sensitive libraries. Beyond that, the project was constructed to be able to fit into a standard sized upright piano. While only 15 pumpkins are currently employed, the instrument can be scaled up to 48 pumpkins. Presumably they would need to be very small for the lid of the piano to still close.
The Harpsi-Gourd is a whimsical re-imagining of the original Makey Makey which can be used to do all kinds of things, including play Mario Bros. There are all kinds of other food-based musical instruments at your disposal as well, though.
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”
We love a good musical build, and this one is no exception. For their ECE4760 final project, [Wendian Jiang], [Hanchen Jin], and [Lin Wang] of Cornell built the nicest-looking touch piano we’ve seen in a while. It has five 4051 multiplexers that take input from 37 capacitive touch keys fashioned from aluminium foil and copper tape. Thanks to good debounce code, the sounds are clean even though the keyboard is capable of four-note polyphony.
A PIC32 and a Charge Time Measurement Unit (CTMU) module generate a small, steady current that charges up the keys. The PIC scans the pins continuously waiting for touch input. When human capacitance is detected, the value is compared with the base capacitance using the ADC and the sound is generated with the Karplus-Strong algorithm.
The group’s original plans for the project included a TFT screen to show the notes on a staff as they are played. While that would have been awesome, there was just too much going on already to be able to accurately capture the notes as well as their duration. Check it out after the break.
Continue reading “Touch Piano Hits All the Right Notes”
Imagine if you played all the keys on a piano at once. What would it sound like? Now imagine that you’d like to transcribe that music. What would it look like? So many notes that you could hardly see the paper underneath.
Which is why the people making such “impossible music” are calling themselves the Black MIDI Crew: if you wrote the music down, it’d look like a big black blob. Or at least, that’s the joke. Amazingly, though, it doesn’t sound like a big mess. Check out “Pi, The Song With 3.1415 Million Notes” below the break to see what we mean.
Continue reading “Black MIDI: There Is No Denser Music”
We don’t really get out much, but we have noticed that there are brightly painted upright pianos in public places these days. Research indicates that these pianos are being placed by small, independent local organizations, most of which aim to spread the joy of music and encourage a sense of community.
[Sean and Mike] took this idea a couple of steps further with Quaver, their analog looping piano. Both of them are maker/musicians based in Lancaster, Pennsylvania, which happens to be a hot spot for public pianos. [Sean and Mike] often stop to play them and wanted a good way to capture their impromptu masterpieces. Quaver is an antique upright that has been modified to record, save, loop, and upload music to the internet. It does all of this through a simple and intuitive user interface and a Raspi 2. Quaver works a lot like a 4-track recorder, so up to four people can potentially contribute to a song.
The player sits down, cracks their knuckles, and presses our personal favorite part of the interface: the giant, irresistible record button. A friendly scrolling LED matrix display tells them to start playing. Once they are satisfied, they press the button again to stop the recording, and the notes they played immediately play back in a loop through a pair of salvaged Bose speakers from the 1980s. This is just the beginning of the fun as you play along with your looping recording, building up several voices worth of song!
Continue reading “It’s an Upright Piano, It’s a Looper, It’s a Pi Project”
What do you get when you mix dueling pianos with a 2D fighting game? Undoubtably some complex controls, but also an awesome platform for showmanship! The “Sound Fighter” installation by artists [Cyril] and [Eric] was built with the exact intention that two opposing parties could duke it out in a Street Fighter match with their piano playing abilities mapping into attack combos and dragon-punches.
In order to turn a piano into a glorified arcade stick, [Cyril] and [Eric] would need a way to register when and what notes were being played and then translate that data into commands for the fighting game itself. To start, they did their homework on the inner workings of different piano types. Whatever digital augmentation they were to design would have to work without inhibiting the piano’s function.
There were many possible methods of registering when the piano was being used and though several would have worked for their intended purpose, it took writing down and discussing the pros and cons of each sensor before they made a decision. Some of the options they considered included pressure sensors for the keys themselves, accelerometers to detect the movement of the individual hammers within the piano, and even a microphone to computationally analyze the sound heard from either instrument. In the end they chose to implement small and accurate piezo knock sensors tethered to the internal mechanism of each key. These could register both faint and strong notes when played without altering the natural sound of the instrument.
After deciding on a Street Fighter iteration for the PS2 to develop the rest of the project around, they had to play the actual game a bit to get a feel for the command list of moves. They wanted to conceive of a way to map the notes played to the controller, but not in the direct “key to button” sort of way. The idea was that if someone was good at playing piano, they would also be good at executing moves in game. So they had to sort out how groups of notes and chords would translate into moving the character or attacking.
I highly suggest checking out their in depth play-by-play as they built the installation from the ground up. In addition to being fascinating (they prepared this project in a fight against time for the reopening of a historical site in Paris), you’ll find that everything they developed is opened source. The completed installation is as awesome as it sounds. You can see it in action in an actual duel below:
Continue reading “Turning a Cadenza into a Finishing Move”